Narrative theory (Languages And Linguistics)

"Carter's music poses struggles of opposition, for instance in timbre (Double Concerto), space (String Quartet No. 3) or pulse (String Quartet No. 5). His preference for the all-interval tetrachords, 4–Z15 [0, 1, 4, 6] and 4–Z29 [0, 1, 3, 7], is also well known. From these facets of Carter's music, I develop a narrative interpretation of his Petrarch sonnet–inspired solo flute piece, Scrivo in Vento (1991). Specifically, I forge narrative pathways by imagining the two tetrachords as active agents opposed in competition. Previous Scrivo analyses (Capuzzo 2002; Childs 2006) stress continuity by revealing Q-transforms and common-note voice leading between the tetrachords. While acknowledging such features, my analysis emphasises oppositional struggle by tracing the tetrachords as separate entities which cooperate and conflict as they manoeuvre to outdo each other.

The analysis advances three theses: (1) it guides listening to and reading Scrivo in a way which resonates with Carter's concern for the aesthetics of oppositional struggle, his choice of a sonnet as inspiration and his affinity for all-interval tetrachords; (2) it shows that music-analytical detail can be organised into dramatic narratives by (a) projecting dramatic roles onto categories asserted by a formal theory and (b) treating the formal theory's relations metaphorically as actions performed by each role as the musical work unfolds; and (3) it shows how detailed pc-set analysis can support a Heraclitean view of music: a flux of opposing forces seeking and resisting unity."

Les essais réunis dans ce volume interrogent aussi bien le temps des œuvres que le temps à l’œuvre, c’est-à-dire sa formulation narrative mais également son pouvoir d’érosion et de genèse qui affecte les hommes, les livres qu’ils écrivent ou qu’ils lisent et les genres littéraires qu’ils pratiquent. Si l’on veut explorer l’œuvre du temps, on ne peut s’en tenir à l’hypothèse que les intrigues se contentent de mettre en ordre l’histoire et de la doter d’un sens, il nous faut à l’inverse définir les fondements d’une poétique de la discordance narrative qui permette de suivre le glissement du sens dans le temps. Cette réflexion sur le temps soulève une question subsidiaire mais non moins essentielle : « D’où vient le récit et où va-t-il ? » Tenter de répondre à cette question exige de sortir de l’emprisonnement textualiste pour penser la manière dont la narration émerge de la vie et retourne à elle. Il s’agit aussi de marquer la différence qui existe entre les récits qui visent à clarifier le passé, ceux qui veulent en témoigner fidèlement, et ceux enfin qui mettent en scène des histoires inachevées, tournées vers un avenir à vivre ou à lire. Face à la crise que connaissent aujourd’hui les études littéraires et à l’inquiétude que génèrent les usages médiatiques, politiques ou économiques du storytelling, il s’agit de rappeler que la théorie narrative permet de reconnaître dans la littérature le plus fascinant des laboratoires du récit. Si l’homme n’est pas autre chose qu’un faisceau d’histoires, alors l’analyse narratologique des œuvres littéraires demeure la voie royale pour accéder à son humanité.

What makes a narrative text a narrative?
This is the central question of the paper which functions as an introduction to the edited volume "Perspectivization on narrativity and narrative perspectivization" (2016, John Benjamins). Based on an overview of narratological and linguistic approaches to narrativity, it argues for a dynamic account that sees narrativity as a specific constellation of perspectivization that dynamically emerges from the interaction between the textual structure and the recipient’s interpretation.

Quadro sinóptico de conceitos de teoria da narrativa, com comentários associados a sua aplicados na análise do discurso de noticiários e documentários. provenientes de REIS & LOPES (1988) Dicionário de Teoria Narrativa. GREIMAS & COURTÉS (1989) Dicionário de Semiótica e
MOUILLAUD (1997) "O sistema das citações".

Narrative, the creation of imaginative projects and experiences displayed in expressions of movement and voice, is how human cooperative understanding grows. Human understanding places the character and qualities of objects and events of interest within stories that portray intentions, feelings, and ambitions, and how one cares about them. Understanding the development of narrative is therefore essential for understanding the development of human intelligence, but its early origins are obscure. We identify the origins of narrative in the innate sensorimotor intelligence of a hypermobile human body and trace the ontogenesis of narrative form from its earliest expression in movement. Intelligent planning, with self-awareness, is evident in the gestures and motor expressions of the mid-gestation fetus. After birth, single intentions become serially organized into projects with increasingly ambitious distal goals and social meaning. The infant imitates others’ actions in shared tasks, learns conventional cultural practices, and adapts his own inventions, then names topics of interest. Through every stage, in simple intentions of fetal movement, in social imitations of the neonate, in early proto-conversations and collaborative play of infants and talk of children and adults, the narrative form of creative agency with it four-part structure of ‘introduction,’ ‘development,’ ‘climax,’ and ‘resolution’ is present. We conclude that shared rituals of culture and practical techniques develop from a fundamental psycho- motor structure with its basic, vital impulses for action and generative process of thought-in-action that express an integrated, imaginative, and sociable Self. This basic structure is evident before birth and invariant in form throughout life. Serial organization of single, non-verbal actions into complex projects of expressive and explorative sense- making become conventional meanings and explanations with propositional narrative power. Understanding the root of narrative in embodied meaning-making in this way is important for practical work in therapy and education, and for advancing philosophy and neuroscience.

L’histoire de la narratologie est paradoxale. Sa naissance découle de la prise de conscience précoce que l’horizon des travaux portant sur la narrativité déborde
du cadre de la théorie littéraire. Pourtant, cette discipline émergente a longtemps été réticente à s’émanciper de son périmètre d’origine. Il en a découlé qu’un certain nombre de concepts se sont figés dans des définitions qui les rendent difficilement applicables à des formes non verbales. A une époque où les grands récits de notre culture se déclinent sur une vaste gamme de supports médiatiques, souvent coordonnés, au sein desquels les narrations bédéiques, filmiques, télévisuelles ou vidéoludiques occupent une place de plus en plus centrale, il est devenu urgent de développer une théorie du récit capable d’embrasser cette diversité. Mais cet élargissement ne doit pas se faire au mépris d’une conscience aiguë des contraintes que chaque support, par sa matérialité, mais aussi par sa tradition historique, impose au message narratif. Si l’on regarde au-delà du phénomène de l’adaptabilité des histoires, il devient alors essentiel de refonder des concepts transversaux suffisamment souples pour s’adapter à n’importe quel média, tout en réfléchissant à la manière spécifique dont chacun d’entre eux s’incarne médiatiquement.

Through their imaginative writing styles, Emerson, Thoreau, and Whitman incessantly endeavored to resolve the lingering question, what is an American? As individuals from around the world journeyed to the promising shores of America’s East Coast, seeking social and religious freedom, America’s cultural variety swelled and rehabilitated existing conceptions of a truly “American” man. Although he or his ancestors may have once taken pride in a European heritage, this new American left behind the traditions and customs of the past and awakened to new ideas, new principles, and could entertain new thoughts, form his own opinions, and experience the world through his own nature.

As this new way of thinking spread throughout the nation, writers reflected upon conceptions of freedom, individualism, democracy, boundless frontiers, and golden opportunities—experimenting with how America’s multi-cultural nation should define and understand itself in collective terms.

The purpose of this study is to propose the structural outline and conceptual framework of a Ricoeurian translation theory. Following a discussion on the ambiguities around situating Ricoeur in translation theory, three major interlinked components of the theory are explored. First, the metaphysics of meaning and translation is established based on Ricoeur's hermeneutics of infinitude. Then, the language---processing component is constructed through an incorporation of Ricoeur's narrative theory. Finally, the ethics and politics of translation, particularly in globalization, are founded based on Ricoeur's "age of hermeneutics theory."

Complete Original French Version of Pierre Van Den Heuvel's conference talk 'Texte, Film et Code: Dysnarration et Cohérence' (Posted here in its English Translation by Edouard d'Araille). A trenchant analysis of ambiguity and play in storytelling through a consideration of literary and film techniques used by modern novelist and filmmaker Alain Robbe-Grillet. Van Den Heuvel analyses aspects of form and content within Robbe-Grillet's fiction and film and looks at linguistic and cinematic devices used by him in order to create an environment of ambiguity within his fiction. With Robbe-Grillet, nothing is always quite as it seems - or only as it seems, and Van Den Heuvel exposes this endlessly playful author in the methods that he uses to toy with the reader and the viewer. It is a relevant essay for anyone interested in literary analysis, especially in post-modern, structuralist and deconstructionist views on literature and film. Pierre Van Den Heuvel was a leading academic researcher in language and literature studies who shed new light on the complex techniques used within Robbe-Grillet's fiction works. First presented at the 1996 Oxford University Alain Robbe-Grillet Conference (entitled 'In the Temple of Dreams'). The translation which appears on this Academia.edu page was made from this exact text (and released in the fully English version of 'IN THE TEMPLE OF DREAMS' in 2006).

Recent literary texts in English, French, and German represent the Ho-locaust through the autodiegetic narration of Nazi perpetrators, a strategy that emphasizes the humanness of their protagonists and complicates the reified image of Holo-caust perpetrators that has developed in the decades since the war. Questions of reader identification, affect, and empathy are of critical ethical importance when examining such texts, providing new challenges for the currently flourishing discourse on narrative empathy. This article considers how narrative depictions of the perspective of perpetrators actuate complex and varied processes of empathy and identification in their readers. First, it situates its inquiry within recent research on narrative empathy, which offers a compelling framework for understanding readers' empathetic engagements with admirable or suffering characters but has only barely begun to investigate empathy for victimizers. Second, it reconsiders the notion of reader identification as an umbrella concept that better accounts for complex readerly engagements with ethically charged characters. Third, it suggests a taxonomy of identification that combines cognitive, affective, and ethical components and allows for the itinerant fluctuation between types and degrees of reader investment in a character at different points in a given narrative. Finally, by taking a closer look at Martin Amis's 2014 novel The Zone of Interest, which pits two ethically dubious perpetrator-narrators against each other in a bid for the reader's ambivalent identification, this article demonstrates how texts narrated by Holocaust perpetrators have mobilized and managed reader identification and considers the ethical issues that arise from it.

This volume examines a range of novels and novellas published over the course of nearly forty years, from 1968 to 2014, including E.L. Doctorow’s Andrew’s Brain, John Gardner’s “The King’s Indian,” Paul Auster’s Travels in the Scriptorium, Peter Straub’s Mr. X, and Joyce Carol Oates’ Expensive People.

These texts display one crucial unifying thread: they are doubly-mediated fictions, fictions in parentheses, so to speak. The application of narrative framing and embedding has been commonly acknowledged and abundantly researched in various works belonging to the Western literary heritage. However, its use in the twentieth and twenty-first century fiction has not been adequately explored, perhaps with the exception of the literary creations of such giants as Vladimir Nabokov and John Barth. Despite this critical oversight, narrative frames prove to be a major resource for modern-day novelists, who adapt this literary device and very effectively put it to their own uses. The essays collected in this volume will serve to spark the revival of interest in this time-honored narrative tool, demonstrating its validity for research into more recently created novels.

This book discusses salient moments of multilingual encounters and brings together contributions focused on the interplay between language use by individuals and societies, and language-related inequalities or opportunities for speakers. The chapters demonstrate how biographical and speaker-centred approaches can contribute to an understanding of linguistic diversity, how researchers can empirically account for lived experiences of languages, and how such accounts are embedded in a larger discussion on social (in)equality. Together the chapters make a powerful case for the importance of speaker-centred methodologies in multilingual and multilingualism research. The book is a rich source of theoretical and methodological reflections and will thus be a valuable resource for both experienced researchers and students beginning to explore biographical research methods.

Данный сборник статей посвящен анализу роли игровых факторов в формировании личности и определении жизненных стратегий, а также различных способов взаимодействия игры и реальности: игровым способам формирования самооценки и социальной иерархии, поведению в виртуальном игровом пространстве, использованию игровых персонификаций в практиках социального конструирования.

This collection of articles devoted to the analysis role of gaming factors in shaping the personality and determination of life strategies, as well as different ways to interact games and reality: the gaming methods of forming self-esteem and social hierarchy, behavior in the virtual space the game, the use of gaming personifications in the practices of the social designing.

Cet article propose une réflexion historique et épistémologique sur l’association, qui va jusqu’à l’identification, entre la narratologie et la théorie pan-narratoriale des récits de fiction (théorie qui postule l’existence d’un narrateur fictionnel dans tous les récits de fiction). Ce faisant, il remet en cause l’évidence ou la naturalité de cette théorie. Quelques remarques sur le contexte d’apparition et d’instauration de cette théorie peuvent avoir une portée plus générale pour les divers secteurs de la théorie littéraire.

This article proposes a historical and epistemological reflection on the association, which goes as far as the identification, between narratology and pan-narratory theory of fictional narratives (a theory which postulates the existence of a fictional narrator in all fictional narratives). In doing so, it calls into question the obviousness or naturalness of this theory. Some remarks on the context of the emergence and establishment of this theory may have a more general scope for the various sectors of literary theory.

— L'article dresse un état des lieux et un bilan de santé de la théorie du récit dans un contexte contemporain marqué par ce que l'on a appelé il y a une vingtaine d'années le « tournant narratif » dans les sciences humaines. Paradoxalement, d'un point de vue institutionnel, la théorie du récit apparaît relativement moribonde, alors que son champ d'application n'a jamais semblé aussi large et son utilité aussi évidente. Les études narratives au sens large soulignent aujourd'hui notre nature d'homo fabulator, mais certains chercheurs ne prennent pas toujours la peine de suivre les évolutions récentes de la théorie du récit largement le périmètre des études littéraires. J'insisterai sur l'importance de revaloriser et d'institutionnaliser une discipline de recherche qui n'a jamais cessé d'évoluer, de manière à assurer à la narratologie un rôle central au sein d'études narratives en expansion rapide. Peut-être qu'un renforcement de la théorie du récit au sein des sections de littérature contribuerait à la fois à assurer la visibilité de la narratologie au sein de la recherche académique et à redynamiser une discipline qui connaît aujourd'hui une crise sans précédent.

Complete Translation of Pierre Van Den Heuvel's conference talk 'Texte, Film et Code: Dysnarration et Cohérence' by Edouard d'Araille. A trenchant analysis of ambiguity and play in storytelling through a consideration of literary and film techniques used by modern novelist and filmmaker Alain Robbe-Grillet. Van Den Heuvel analyses aspects of form and content within Robbe-Grillet's fiction and film and looks at linguistic and cinematic devices used by him in order to create an environment of ambiguity within his fiction. With Robbe-Grillet, nothing is always quite as it seems - or only as it seems, and Van Den Heuvel exposes this endlessly playful author in the methods that he uses to toy with the reader and the viewer. It is a relevant essay for anyone interested in literary analysis, especially in post-modern, structuralist and deconstructionist views on literature and film. Pierre Van Den Heuvel was a leading academic researcher in language and literature studies who shed new light on the complex techniques used within Robbe-Grillet's fiction works. First presented at the 1996 Oxford University Alain Robbe-Grillet Conference (entitled 'In the Temple of Dreams'). This translation has been extracted from the publication of the same name, (fully English version released in 2006) - ISBN 978-1-906904-56-2 (Digital Version).

Deixis is the semiotic term for particularized space and time in embodied existence. This ever-present deictic field is both ordinary and unexplainable: how is it that this space and this body exist in this moment? The elemental semiotic function of calling attention to particulars from the perspectival orientation of a bodily self in time and space foregrounds such ineluctable properties as presence, immediacy, and the vulnerability of being, and is a central topic for philosophers, linguists, anthropologists, cognitive scientists, and literary theorists. Deixis is emerging as critical to foundational theory of the humanities and cognitive science, and the deictic imaginary is of particular significance to theories of literature and art.

Some words have the power to define what is real. This article introduces a comprehensive view of mental illness as an inner conflict with those words. We suggest that individuals are sometimes unable to assimilate the narratives most human beings live by because the social realities they portray are abstract, incoherent and conflicting. We do this through a constructive criticism of Open Dialogue, an innovative, celebrated approach to mental health care that resembles family therapy. Open Dialogue is important due to its situated focus on human relationships. However, the approach adheres to the metaphysical narrative of social constructionism, which we argue is but another form of rationalism that competes with the rationalism of the biomedical model. Both approaches effectively disregard embodied experience, individual decision-making and the sciences of behaviour because they have a basis in societal norms. We illustrate our case through the psychosis stories gathered in a unique, minimally edited book, which we contrast with case examples of Open Dialogue. Our analysis shows that epistemic and therapeutic value should not be seen as opposites. Questioning our most fundamental assumptions reveals that the person in crisis has a lot to say about life’s biggest questions, and opens the door to a genuinely open dialogue.

In recent years, cognitive science has progressively entered the epoch of “4e cognition” in which the mind is considered as embedded, enacted, embodied and extended. However, among these second-generation perspectives, the extended mind theory (Clark and Chalmers 1998) seems to have lagged behind in the narratological discourse.  According to this view, the human mind extends into the world when coupled with external cognitive tools like computers or material symbols such as language. This article seeks to apply the extended mind theory to the problem of literary intentions by putting the key principles of the theory in relation to the act of narrative worldmaking. In so doing, I suggest that EMT entails a reconsideration of the concept of authorial intentions in that it provides a distributed account of agency during the writing activity. In the last part of the essay I elaborate on the further implications of this reappraisal for literary interpretation.

Peut-être l'idée même de narration (distincte de l'enchantement, de la conjuration ou de l'invocation) est-elle née pour la première fois, dans une société de chasseurs, de l'expérience du déchiffrement des traces. […] Le chasseur aurait été le premier à « raconter une histoire » parce qu'il était le seul capable de lire une série cohérente d'événements dans les traces muettes (sinon imperceptibles) laissées par sa proie 1. Protéger ou s'adapter à un écosystème (prologue) Il y a des situations de prolifération ou de raréfaction des espèces qui conduisent assez naturellement les humains à adopter des attitudes agressives ou protectrices, notre mission semblant être de protéger un équilibre perpétuellement menacé de dissolution. Lorsque les loups foisonnaient dans les forêts et massacraient nos troupeaux, nous avons cherché à les exterminer, mais lorsqu'ils ont fini par disparaître presque entièrement de la planète, nous avons soudain ressenti le besoin de les protéger. L'être diabolisé par les bestiaires a fini par incarner un monde sauvage dont nos sociétés industrielles nous ont donné la nostalgie. Cette attitude, somme toute légitime, vise à préserver un écosystème dont dépend notre survie. Nous espérons que l'univers restera immuable et que le changement se limitera à un jeu constant de rééquilibrages dynamiques, nous préservant d'une évolution plus radicale dont les conséquences seraient imprévisibles. Il en va de la fiction littéraire comme du loup, accusée de tous les mots lorsqu'elle dominait l'horizon culturel d'un siècle papivore 2 , on lui reconnaît aujourd'hui, alors qu'elle semble menacée d'extinction, des vertus irremplaçables : elle améliorerait la littératie d'une génération vouée à l'image, favoriserait la compréhension de la complexité du monde, permettrait le développement d'une théorie de l'esprit et d'un sens moral. Pourtant, malgré ce retour en grâce, la plupart des défenseurs des belles-lettres considèrent qu'à l'inverse, le storytelling serait une espèce invasive dont il conviendrait de limiter la prolifération, car cette forme de communication saperait les fondements de notre démocratie et nous soumettrait à un pouvoir manipulateur. Dans les deux cas, il en va de la survie de quelques uns d'entre nous dans l'écosystème académique et dans l'économie de la culture. Mais quelle est notre véritable influence face à ces transformations de notre environnement culturel ? Avons-nous vraiment le pouvoir de réinsuffler la passion de la littérature parmi nos contemporains et de les détourner de ces histoires qui formatent les esprits et qui les aliènent dans un monde de faux-semblants ? Nous sentons que l'évolution est profonde et que notre pouvoir est limité ; nous avons beau crier au loup, il semble que nous soyons condamnés à demeurer des Cassandres impuissantes. Par ailleurs, ce réflexe, qui nous pousse à célébrer les

Narrative theory goes back to Plato. It is an approach that tries to understand the abstract mechanism behind the story. This theory has evolved throughout the years and has been adopted by numerous domains and disciplines. Narrative therapy is one of many fields of narrative that emerged in the 1990s and has turned into a rich research field that feeds many disciplines today. Further study on the benefits, opportunities, and challenges of narrative therapy is vital to understand how it can be utilized to support society.

Narrative Theory and Therapy in the Post-Truth Era focuses on the structure of the narrative and the possibilities it offers for therapy as well as the post-modern sources of spiritual conflict and how to benefit from the possibilities of the narrative while healing them. Covering topics such as psychotherapy, cognitive narratology, art therapy, and narrative structures, this reference work is ideal for therapists, psychologists, communications specialists, academicians, researchers, practitioners, scholars, instructors, and students.

Let us suppose that you are a research linguist, tormented by some doubts and questions about the state of your profession, and not constrained by having to repeat a catechism of "known truths" to Linguistics 101 students, and not worried about employment tenure. How would you actually go about tackling "the central problem of linguistics", namely how we acquire and maintain knowledge of the probability of systemic relationships in a language?

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In the work of English author/mathematician/logician Lewis Carroll (Charles L. Dodgson), questions of language and meaning constantly lurk beneath the surface. As a literary genre, Carroll’s nonsense has been shown to address changing theories of language in the specific context of the nineteenth century. This essay identifies how Carroll’s architectural criticism, exposed in his short pamphlets on architecture and in The Vision of the Three T’s (1873) in particular, connects issues of architectural meaning to changing understanding in the propriety and usage of language. Those changes were brought about in the context of Oxford by scientific positivism and approaches to language such as the German-influenced New Philology. The aim is to unveil how such philological themes are chosen targets for several of Carroll’s jokes in the architectural pamphlets. I argue that Carroll’s position is grounded in a broader enquiry on the theme of architecture’s significance and questions of interpretation in that specific context.

This is the final program of BRAFFTV International Conference 2014 held at the University of Toronto from October 23rd to 25th with the focus on Interactive Narratives, New Media and Social Engagement. How has the digital screen changed our world in general and narrative and visual arts in particular?
    The second edition of the BRAFFTV International Conference was organized by the Department of Spanish and Portuguese at the University of Toronto and BRAFFTV – Brazilian Film & Television Festival of Toronto.
    The prevalence of new interactive digital narrative in all areas from games, to literature, to films, to video art has resulted in new forms of storytelling and, accordingly, provoked new practices of reading that transforms readers/viewers into active collaborators.
    Physical public space is increasingly being substituted or augmented by virtual space through digital screens (e.g. video, film, computer).
    What effect do these new developments have on social space, seen here as encompassing both physical public spaces (streets, hotels, coffee shops) as well as virtual space (YouTube, Vine, Facebook, Twitter, Tumblr, etc.)?

    How do  these novel practices effect previously clearly demarcated frontiers between the public and the private? Throughout the world, from Brazil to Turkey to Canada, we have recently witness the influence of social media on political participation. How have these new platforms engendered innovative forms of expression?

This paper discusses the materializations of story world entities that are distributed with game packaging, here referred to as feelies, as props that support narrative elements in story-driven digital games. The narrative support is suggested to function on global and local levels, where the first one refers to the immersive effects concerning the story world, and the latter to the immersive effects concerning the situation in which the player is accommodated to via a player character. Additionally, analog feelies are suggested to possess a tactile aspect that has the potential to enhance their immersive impact at both effective levels. These concepts will be explored through early text adventures Deadline (Infocom 1982) and Witness (Infocom 1983).

This project examined the often competing perspectives of ludology and narratology in the field of video game studies, and attempts to incorporate both into a model of game narrative engagement based on the laws of thermodynamics. Further, this project sought to demonstrate that the same model can be used to examine the study of traditional literary texts.

The Assassin's Creed video game series served as the video game text under examination, and the novel House of Leaves as the literary.

"Cet article propose de se pencher sur un aspect typique de
la Novelle allemande romantique, à savoir que beaucoup des
textes de l’époque se présentent comme enchâssés dans un
cadre nocturne. Les prosateurs de l’Allemagne romantique
empruntent ce dispositif à une tradition extrêmement
ancienne, celle de la fiction à récitcadre,
très
fréquente dans la littérature antique et tout
particulièrement renaissante, et dont les deux matrices
sont Les Mille et une nuits et Le Décaméron (qui ne se
déroule pas dans un cadre nocturne, mais s’y apparente
structurellement). La communication se concentre sur le
modèle renaissant, et cherche à montrer, à travers l’étude
d’Eckbert le Blond [Der Blonde Eckbert, 1797] de Ludwig
Tieck et de La Maison déserte [Das Öde Haus, 1817]
d’E. T. A. Hoffmann, comment certains auteurs
déconstruisent le protocole renaissant du récit nocturne
pour mieux souligner la spécificité de la nuit romantique,
qui repose sur l’envahissement du monde humain par la
« face nocturne de l’existence » (Gotthilf Heinrich von
Schubert). Chez Tieck et chez Hoffmann, il ne s’agit pas
de séparer des ordres pour témoigner de la puissance
d’organisation du discours, mais au contraire de mélanger
les niveaux du récit et des sphères de la réalité que le
lecteur pensait séparés, et que les narrateurs croyaient
séparer par leur art de la parole, afin de souligner
l’activité de ce monde nocturne qui ne laisse pas
domestiquer."

De larga trayectoria es la relación entre matemáticas y narrativa. En este artículo se muestran modos específicos en que se vinculan ambos ámbitos pese a lo disímiles que, en apariencia, pueden llegar a ser. Así, se habla de Ítalo Calvino y de su articulación narrativa de carácter ‘algebraico combinatoria’, que, además, utiliza el modelo greimasiano, no para hacer análisis semiótico, sino como modelo generador de escritura; y de Claude Berge y su novela diagramático-policíaca ¿Quién mató al duque de Densmore? Esto permitirá comprender el tránsito de una semiótica de la acción a una semiótica del suceso, a través de un modelo diagramático-relacional propuesto.

Resumen: A partir de la conformación de un modelo semántico fundado por la relación de presuposición se construye un esquema de análisis narrativo de carácter diagramático y articulación algebraica, que considera y se apoya en la noción de orden como dimensión ...

This paper explores the content of the somniloquies of Dion McGregor, the most extensive sleep talker ever recorded, and compares these with dream content from normative male dreams on the Hall and van de Castle Content Scales (1966) and Hobson (et al., 1987) Bizarreness Scales. On the Hall and van de Castle Scales, the somniloquies contained significantly more female characters relative to males than for the norms, more familiar characters and friends, but fewer family members. The dreamer-as-character was much likelier to be either a befriender or an aggressor than in the normative dreams but much less likely to engage in physical aggression specifically.  There was less aggression, friendliness, or sex per character in McGregor’s narratives, as well as less of all three of these types of interaction total than for the norms, but much more self negativity.  There was a lower percentage of negative emotions, good fortune, and success, but the somniloquies were similar to the norms in their levels of misfortune and failure.    On the Hobson Bizarreness Scales, the McGregor somniloquies were not differentiated from dreams on 3 of 6 scales—having similar levels of discontinuity of plot, characters, object, or actions but had slightly fewer incongruities of plot, and many fewer instances of incongruity or  uncertainly of thought. These findings are discussed in terms of presumed brain activation differences—more frontal activation--and also in terms of McGregor’s (1964) personal idiosyncrasies.

Resumen: A partir de la conformación de un modelo semántico fundado por la relación de presuposición se construye un esquema de análisis narrativo de carácter diagramático y articulación algebraica, que considera y se apoya en la noción de orden como dimensión semiótica.

http://www.tonosdigital.es/ojs/index.php/tonos/article/view/734/510

Aim: Our aim is to offer and illustrates a novel meta-methodology to enhance the rigour of method selection and understanding of results in pluralist qualitative research (PQR).
Method: To do so, we make innovative use of Braun and Clarke’s (2006) articulation of four discrete dimensions characterising different forms of thematic analysis. We provide secondary analyses of an interview from the Social Media, Men who have Sex with Men and Sexual Health project using critical discursive psychology, dialogical analysis, interpretative phenomenological analysis, and psychosocial narrative analysis.
Results: All four methods identified aspects of three central foci: Compartmentalisation, Detachment, and Jouissance.
Conclusion: We discuss how our proposed meta-methodology provides a rationale for the selection of methods in a PQR, offer evidence that it can anticipate the relative similarity in focus of the methods employed, and argue that our meta-methodology reveals the possibility of identifying an ‘axial’ or ‘hub’ method’ of a PQR which might be particularly fruitful in exploring commonalities and differences in results. Finally, we examine the synergies and challenges of combining pairs of the methods we used.

This article attempts to define the form that action takes when it is the focus of narrative plot, in a manner that avoids certain detours in the interpretation of narrative phenomenon and its anthropological function. Two such detours are evoked at the outset. First, structuralist narratology has had a tendency to analyze the "actional" structures of the narrative fabula autonomously. This has led narratalogists to lose sight of the function that actions have in conversational, or oral narrative, and to generalize a theory of action from this partial view. Second, cognitive theorists, despite having decompartimentalized narrative structures, have generally based their work on a schematic model of intentional action that is too general and too simplistic to properly determine the function that narrated actions fulfill. The author highlights the ways that certain forms of narrated action produce suspense or curiosity when used in conversational narrative. Drawing attention to the fundamental role of polemical actions in the dynamics of narration allows oppose two complementary conceptions of action: whereas "narrative" approaches highlight the uniqueness , the underdeterminedness, or the surprising character of the narrated event, other forms of analysis seek to draw attention to the rules behind the apparent novelty of the event.

While metaphor and narrative have often been discussed (with much controversy) but rarely together (e.g. Fitzpatrick and Farquhar, 2019). As cognitive semiotics aims to integrate concepts and methods from semiotics, cognitive science and cognitive linguistics, we endeavor to offer a coherent terminology, which distinguishes the notions of sensory modalities (vision, hearing, smell, touch and taste) and semiotic systems (language, depiction and gesture) (Stampoulidis et al., 2019; Zlatev, 2019). My work focuses on street art, an often visually perceived socio-cultural medium that typically incorporates two interacting semiotic systems (language and depiction), and is thus, polysemiotic (Stampoulidis et al., 2019). In this way, we refer to semiotic systems in which metaphors (and other rhetorical figures) and narratives can be expressed avoiding terminological ambiguity. In this presentation, I discuss methods and results from two recently published studies: (a) a study on street art metaphors (Stampoulidis and Bolognesi, 2019) and (b) a study on street art narratives (Stampoulidis, 2019).

"Nezanesljivi pripovedovalec je rezultat kompleksnih procesov, ki se odvijajo v dejanju literarne komunikacije med avtorjem in njegovim kontekstom, literarnim delom, njegovim kontekstom in njegovim implicitnim avtorjem v pomenu dela kot celote ter bralcem in njegovim kontekstom. Določiti je mogoče tri tipe nezanesljivega pripovedovalca: nezanesljivi presojevalec, nezanesljivi razlagalec in nezanesljivi poročevalec. Vsakega od njih pa je mogoče umestiti v sodobni slovenski roman: nezanesljivega presojevalca v Hočevarjevo trilogijo Porkasvet, Za znoret in Rožencvet, nezanesljivega razlagalca v Sosičev roman Balerina, Balerina in nezanesljivega poročevalca v Möderndorferjev Opoldne nekega dne.

Ključne besede: sodobni slovenski roman, pripovedovalec, nezanesljivi pripovedovalec, implicitni avtor, Zoran Hočevar, Marko Sosič, Vinko Möderndorfer"