Narrative theory (Languages And Linguistics)

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.

"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."

Narrations have traditionally been seen as linguistic artefacts that are mediated by someone who is telling the story. As such, the narrator’s perspective constitutes a central parameter when exploring the possibilities of a unified approach to narrative perspective. With this in mind, this paper aims to take a closer look at the narrator from both theoretical and empirical viewpoints. Based on a review of the current state of the art with respect to narrative perspectivization in general, and the narrator’s perspective in particular, it leads to the conclusion that the narrator is best conceptualized as a covert viewpoint potential that can be actualized to different degrees. As such, the narrator’s perspective should not be identified with “plain narration”, but as a perspective that has to be established by linguistic cues. In a second step, this is supported by an empirical analysis of a specific narrative constellation in German which shows that the narrator’s perspective does not necessarily arise per default and examines which linguistic indicators are able to actualize the narrator’s point of view.

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.

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.

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.

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."

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.

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.

traduit de l'américain et présenté par Sylvie Patron Belin | « Po&sie » 2007/2 N° 120 | pages 315 à 334 ISSN 0152-0032 ISBN 9782701146300 Article disponible en ligne à Distribution électronique Cairn.info pour Belin. © Belin. Tous droits réservés pour tous pays.

In this article a comparison is established between two kinds of analysis, and two radically different applications of the art of storytelling: on the one hand, the one which results from the most recent applications in this regard, that is the so-called Storytelling; on the other hand, the Theory of Story. In order to illustrate this comparison we have selected examples of two visual texts, these are, the front cover of a North American magazine which portrays President Obama, characterised as the very same Christ Pantocrator, and The Christ on the Cross by Velázquez.

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.

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.

"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"

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.