In consequence, the analytic values of narrative fiction established by Frauley (and Ruggiero) are part and parcel of the pedagogic rather than the aetiological value of narrative fiction. The primary concern of my criminology of ...
Author: Rafe McGregor
Publisher: Policy Press
Category: Social Science
Drawing on complex narratives across film, TV, novels and graphic novels, this authoritative critical analysis demonstrates the value of fictional narratives as a tool for understanding, explaining and reducing crime and social harm. McGregor establishes an original theory of the criminological value of fiction.
Grundzüge einer kognitiv-narratologischen Theori und Analyse unglaubwürdigen Erzählens”, in Unreliable Narration: ... Zerweck, Bruno 2001 “Historicing Unreliable Narration: Unreliability and Cultural Discourse in Narrative Fiction”, ...
Author: Per Krogh Hansen
Publisher: Walter de Gruyter
Category: Literary Criticism
From its beginnings narratology has incorporated a communicative model of literary narratives, considering these as simulations of natural, oral acts of communication. This approach, however, has had some problems with accounting for the strangeness and anomalies of modern and postmodern narratives. As many skeptics have shown, not even classical realism conforms to the standard set by oral or ‘natural’ storytelling. Thus, an urge to confront narratology with the difficult task of reconsidering a most basic premise in its theoretical and analytical endeavors has, for some time, been undeniable. During the 2000s, Nordic narratologists have been among the most active and insistent critics of the communicative model. They share a marked skepticism towards the idea of using ‘natural’ narratives as a model for understanding and interpreting all kinds of narratives, and for all of them, the distinction of fiction is of vital importance. This anthology presents a collection of new articles that deal with strange narratives, narratives of the strange, or, more generally, with the strangeness of fiction, and even with some strange aspects of narratology.
In other words, there seems to be a reverse tendency between narration use, on the one hand, and speech and thought presentation categories, on the other, when 19th-century and 20th-century narrative fiction are compared.
Author: Beatrix Busse
Publisher: Oxford University Press
Category: Language Arts & Disciplines
Reference to or quotation from someone's speech, thoughts, or writing is a key component of narrative. These reports further a narrative, make it more interesting, natural, and vivid, ask the reader to engage with it, and reflect historical cultural understandings of modes of discourse presentation. To a large extent, the way we perceive a story depends on the ways it presents discourse, and along with it, speech, writing, and thought. In this book, Beatrix Busse investigates speech, writing, and thought presentation in a corpus of 19th-century narrative fiction including Frankenstein, Jane Eyre, Wuthering Heights, Oliver Twist, and many others. At the intersection between corpus linguistics and stylistics, this book develops a new corpus-stylistic approach for systematically analyzing the different narrative strategies of discourse presentation in key pieces of 19th-century narrative fiction. Speech, Writing, and Thought Presentation in 19th-Century Narrative Fiction identifies diachronic patterns as well as unique authorial styles, and places them within their cultural-historical context. It also suggests ways for automatically identifying forms of discourse presentation, and shows that the presentation of characters' minds reflects an ideological as well as an epistemological concern about what cannot be reported, portrayed, or narrated. Through insightful interdisciplinary analysis, Busse demonstrates that discourse presentation fulfills the function of prospection and encapsulation, marks narrative progression, and shapes readers' expectations.
The notion of a presenter, whose main charge is the providing of perceptual access on the fictional world, is simply the best default assumption available for how we make sense of a narrative fiction film. (Levinson 1996:148) This ...
Author: Derek Matravers
Publisher: OUP Oxford
For the past twenty years there has been a virtual consensus in philosophy that there is a special link between fiction and the imagination. In particular, fiction has been defined in terms of the imagination: what it is for something to be fictional is that there is some requirement that a reader imagine it. Derek Matravers argues that this rests on a mistake; the proffered definitions of 'the imagination' do not link it with fiction but with representations more generally. In place of the flawed consensus, he offers an account of what it is to read, listen to, or watch a narrative whether that narrative is fictional or non-fictional. The view that emerges, which draws extensively on work in psychology, downgrades the divide between fiction and non-fiction and largely dispenses with the imagination. In the process, he casts new light on a succession of issues: on the 'paradox of fiction', on the issue of fictional narrators, on the problem of 'imaginative resistance', and on the nature of our engagement with film.
While describing the supernatural world and promoting spirits, weird novels tried to give color to the scene and atmosphere, and presented ... Different from the written works created by later writers (i.e. prose narrative “fiction”), ...
Author: Yonglin Huang
Category: Literary Criticism
This book presents a comprehensive and systematic study of the narrative history and narrative methods of Chinese and Western popular fiction from the perspectives of narratology, comparative literature, and art and literature studies by adopting the methodology of parallel comparison. The book is a pioneering work that systematically investigates the similarities and differences between Chinese and Western popular fiction, and traces the root causes leading to the differences. By means of narrative comparison, it explores the conceptual and spiritual correlations and differences between Chinese and Western popular fiction and, by relating them to the root causes of cultural spirit, allows us to gain an insight into the cultural heritage of different nations. The book is structured in line with a cause-and-effect logical sequence and moves from the macroscopic to the microscopic, from history to reality, and from theory to practice. The integration of macro-level theoretical studies and micro-level case studies is both novel and effective. This book was awarded Second Prize at the Sixth Outstanding Achievement Awards in Scientific Research for Chinese Institutions of Higher Learning (Humanities & Social Sciences, 2013).
with a view to structuring them into a unified story with beginning , middle , and end . 30 Though highly controversial and frequently contested , 31 this identification of fiction with narrative has had a far - reaching , if largely ...
Author: Dorrit Cohn
Publisher: JHU Press
Category: Literary Criticism
Winner of the Aldo and Jeanne Scaglione Prize for Comparative Literary Studies from the Modern Language Association Winner of the Modern Language Association's Aldo and Jeanne Scaglione Prize for Comparative Literary Studies The border between fact and fiction has been trespassed so often it seems to be a highway. Works of history that include fictional techniques are usually held in contempt, but works of fiction that include history are among the greatest of classics. Fiction claims to be able to convey its own unique kinds of truth. But unless a reader knows in advance whether a narrative is fictional or not, judgment can be frustrated and confused. In The Distinction of Fiction, Dorrit Cohn argues that fiction does present specific clues to its fictionality, and its own justifications. Indeed, except in cases of deliberate deception, fiction achieves its purposes best by exercising generic conventions that inform the reader that it is fiction. Cohn tests her conclusions against major narrative works, including Proust's A la Recherche du temps perdu, Mann's Death in Venice, Tolstoy's War and Peace, and Freud's case studies. She contests widespread poststructuralist views that all narratives are fictional. On the contrary, she separates fiction and nonfiction as necessarily distinct, even when bound together. An expansion of Cohn's Christian Gauss lectures at Princeton and the product of many years of labor and thought, The Distinction of Fiction builds on narratological and phenomenological theories to show that boundaries between fiction and history can be firmly and systematically explored.
In Part I about the enlightenment gained from Western fiction, I notice the restraints posed by traditional literary awareness on Chinese writers' understanding and referencing of the narrative modes in Western fiction.
Author: Pingyuan Chen
Publisher: Springer Nature
Category: Chinese fiction
This book examines the Chinese fictions (xiaoshuo) published between 1898 and 1927 three pivotal decades, during which China underwent significant social changes. It applies Narratology and Sociology of the Novel methods to analyze both the texts themselves and the social-cultural factors that triggered the transformation of the narrative mode in Chinese fiction. Based on empirical data, the author argues that this transformation was not only inspired by translated Western fiction, but was also the result of a creative transformation in tradition Chinese literature. .
1 Introduction The Literary Theory of Narrative and John Fowles's Fiction Many of the difficulties of narrative technique in the fiction of John Fowles seem to stem from an inability to agree on how to interpret his complex and ...
Author: Mahmoud Salami
Publisher: Associated University Presse
Category: Literary Collections
This book presents a deconstructive reading of the novels and short stories of John Fowles. As a contemporary novelist, Fowles began as a modernist self-consciously aware of the various narratological problems that he encountered throughout his writings. In his most recent novel, A Maggot, however, he assumes the role of the postmodernist who not only subverts the tradition of narratology, but also poses a series of problems concerning history and politics. Throughout this study, Mahmoud Salami attempts to locate Fowles's fiction in the context of modern critical theory and narrative poetics. He provides a lively analysis of the ways in which Fowles deliberately deployed realistic historical narrative in order to subvert them from within the very conventions they seek to transgress, and he examines these subversive techniques and the challenges they pose to the tradition of narratology. Salami presents, for instance, a critique of the self-conscious narrative of the diary form in The Collector, the intertextual relations of the multiplicity of voices, the problems of subjectivity, the reader's position, the politics of seduction, ideology, and history in The Magus and The French Lieutenant's Woman. The book also analyzes the ways in which Fowles uses and abuses the short-story genre, in which enigmas remain enigmatic and the author disappears to leave the characters free to construct their own texts. Salami centers, for example, on A Maggot, which embodies the postmodernist technique of dialogical narrative, the problem of narrativization of history, and the explicitly political critique of both past and present in terms of social and religious dissent. These political questions are also echoed in Fowles's nonfictional book The Aristos, in which he strongly rejects the totalization of narratives and the materialization of society. Indeed, Fowles emerges as a postmodernist novelist committed to the underprivileged, to social democracy, and to literary pluralism. This study clearly illustrates the fact that Fowles is a poststructuralist--let alone a postmodernist--in many ways: in his treatment of narratives, in mixing history with narrative fiction and philosophy, and in his appeal for freedom and for social and literary pluralism. It significantly contributes to a better understanding of Fowles's problematical narratives, which can only be properly understood if treated within the fields of modern critical theory, narratology, and the poetics of postmodernism.
If Metz is correct that all narrative fiction films necessarily entail the existence of a narrator, then articulations of such an entity should be found already in that period. In other words, if story films started appearing already ...
Author: Mario Slugan
Publisher: Bloomsbury Publishing
Category: Performing Arts
When watching the latest instalment of Batman, it is perfectly normal to say that we see Batman fighting Bane or that we see Bruce Wayne making love to Miranda Tate. We would not say that we see Christian Bale dressed up as Batman going through the motions of punching Tom Hardy dressed up us Bane. Nor do we say that we see Christian Bale pretending to be Bruce Wayne making love with Marion Cotillard, who is playacting the role Miranda Tate. But if we look at the history of cinema and consider contemporary reviews from the early days of the medium, we see that people thought precisely in this way about early film. They spoke of film as no more than documentary recordings of actors performing on set. In an innovative combination of philosophical aesthetics and new cinema history, Mario Slugan investigates how our default imaginative engagement with film changed over the first two decades of cinema. It addresses not only the importance of imagination for the understanding of early cinema but also contributes to our understanding of what it means for a representational medium to produce fictions. Specifically, Slugan argues that cinema provides a better model for understanding fiction than literature.
Narrative. Fiction. as. a. Source. of. Knowledge. Mitchell Green Abstract In this essay I refine and extend a defense of literary cognitivism (the view that works of literary narrative fiction may serve as sources of knowledge–and not ...
Author: Paula Olmos
This book presents reflections on the relationship between narratives and argumentative discourse. It focuses on their functional and structural similarities or dissimilarities, and offers diverse perspectives and conceptual tools for analyzing the narratives’ potential power for justification, explanation and persuasion. Divided into two sections, the first Part, under the title “Narratives as Sources of Knowledge and Argument”, includes five chapters addressing rather general, theoretical and characteristically philosophical issues related to the argumentative analysis and understanding of narratives. We may perceive here how scholars in Argumentation Theory have recently approached certain topics that have a close connection with mainstream discussions in epistemology and the cognitive sciences about the justificatory potential of narratives. The second Part, entitled “Argumentative Narratives in Context”, brings us six more chapters that concentrate on either particular functions played by argumentatively-oriented narratives or particular practices that may benefit from the use of special kinds of narratives. Here the focus is either on the detailed analysis of contextualized examples of narratives with argumentative qualities or on the careful understanding of the particular demands of certain well-defined situated activities, as diverse as scientific theorizing or war policing, that may be satisfied by certain uses of narrative discourse.