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The goal of this paper is to offer an analysis on how Italian places act as key narrative units in Japanese manga. Building on a quantitative and qualitative corpus study, the paper investigates how culturally salient locations are embedded in these narratives. It is first shown that authors develop salient locations ("places") as distinct entities playing key roles within narrative structures. It is then shown that these representations of places follow principles of cultural relevance, popularity, historical and geographical faithfulness. This is the case because authors creating manga set in Italy share knowledge and appreciation of Italian places and their cultural import with readers. These results are framed in a theory of geo-criticism and in a possible worlds analysis of places in fiction, hereby extended to graphic narratives. [ABSTRACT FROM AUTHOR]

Memory narratives, like all fictional narratives, are characterized by variation in narrative pace, resulting from a variety of staging strategies. In memory literature, the change in narrative pace is particularly evident because the representation of memory encourages a variety of narrative pacing strategies – from acceleration to deceleration. A great deal of attention is given to the representation of memory content when reviewing narratology from a memory studies perspective. There is, however, one aspect that is often overlooked, namely the way in which memories themselves determine the pace of the narrative. Memory content not only affects the narrative pace in significant ways but in most cases, the representation of memory also dictates the narrative pace by employing several memory-elicited pace strategies. As part of this paper, we propose a narratological approach that emphasizes narrative pace as the basis for analyzing the memory literature related to transgenerational memory communication. This paper examines the narrative techniques in the the construction of memory-elicited narrative pace. Furthermore, this paper discusses how memory itself takes on different roles based on varying narrative paces and how memory itself can influence narrative pace. The paper uses three memory novels as case studies: Herzklappen von Johnson & Johnson by Valerie Fritsch, Briefe nach Breslau: Meine Geschichte über drei Generation by Maya Lasker-Wallfisch, and Zurück nach Berlin: wie mein Vater mit mir in seine Vergangenheit reiste by Jonathan Lichtenstein. Each of these novels focuses on the transmission of a transgenerational memory of World War II. Using examples from these novels, this paper explains how the suturing of memory content generates the five primary rhythms of narrative movement: ellipsis, summary, stretch, pause, and scene. [ABSTRACT FROM AUTHOR]

This paper considers how the codex as a medium, specifically via its illustration and layout, translates into material forms the literary and textual choices of the texts it transmits in order to make its version of the Troy story tangible, and thus intelligible for its medieval readers. It takes as an example the first prose version of the Roman de Troie of Benoît de Sainte-Maure, probably composed in the last quarter of the thirteenthcentury in Frankish Greece, and focuses more specifically on a late manuscript of Prose 1, recently rediscovered, the manuscript F°26 from the Abbey of Maredsous (Belgium), made almost two centuries later, c. 1450, in the Burgundian Netherlands. This paper argues that this codex, in its specific context of production and within its textual and visual traditions, allow its audience to come into contact with the long-lost city of Troy, and the narrative that evokes it. [ABSTRACT FROM AUTHOR]

Following Per Aage Brandt's "Towards a cognitive semiotics" (2011), culture as a cognitive-semiotic model allows us to look into the interrelation of cognition and signs through the act of interpretation of culture. Thus, culture characterized as habits of feeling, attention, thought, and action plays a role of modeling in the lifeworld. Regarding cultural evolution, culture also has a feature of practice of habit-taking for transformation through dialogic relations of semiosis from Peirce's semiotic perspective. This paper argues for narrative modeling which enables habit-taking in feelings by way of analogical reasoning in a form of parable as cognitive process. A story in a form of qualia as a model for thought is embodied in narrative modeling to be enactive by a storytelling agent. Therefore, narrative modeling reveals the process of thought through habit-taking in feelings of empathy and sympathy to a feeling of an idea as a person. This leads to an act of understanding other mind, sharing the meaning and value of a story for enhancing sensibility and cultural literacy for cultural evolution. This journey of story-making and story-telling by way of narrative modeling shows a trajectory for a quest for meaning and value which will be found between "you" and "I". [ABSTRACT FROM AUTHOR]

This paper reports a longitudinal study of topic continuity in Chinese EFL learners' English written narratives by tracking their dynamic change of referential choices over two years. The proportional distribution of referential forms were calculated and texts produced by learners were analyzed. The calculation and analysis yielded the following findings. Firstly, while the general distribution of referential forms follows Givón's cross-linguistic topic continuity scale, indicating the dominant role of discourse context in referring, quite a few instances deviate from this scale, suggesting the modulating effect of multiple factors, including L1 influence and articulators' cognitive pressure. Secondly, with an increase in English exposure, L2 learners' use of the typical referring form in each context displayed an increasing tendency over time. Finally, the developmental paths of L2 referential choices exhibited individual variability. These findings pointed to variation in interlanguage and the modulating effect of non-linguistic or internal cognitive factors on reference production. [ABSTRACT FROM AUTHOR]

Various interpretative proposals in Archilochean fragments, transmitted either in inscriptions or papyri or a combination of the two, are collected in this paper. The notes attempt to introduce some different readings or supplements, occasionally conjectural, in order to show how, in the author's view, the narrative should have progressed in a reasonable way. Naturally, to the extent that no new pieces are attached to the old ones, a definitive edition of these fragments is bound to remain more or less elusive. [ABSTRACT FROM AUTHOR]

The paper analyses the phenomenon of heterotopias as they are described by Michel Foucault and the way they are employed in literature and theatre. The paper argues that each time an author writes or re-writes, a director stages, a member of the audience sees and reader reads a fictional narrative that is set into a non-fictional place (e. g. a city), a heterotopia, "another", different place is created by means of conceptual integration. This will be exemplified on the contemporary Croatian novel Unterstadt by Ivana Šojat and its stage adaptation. [ABSTRACT FROM AUTHOR]

Copyright of Info DaF: Informationen Deutsch als Fremdsprache is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the age of artificial intelligence, writing machines or robot authors have already begun to produce narrative texts in a variety of genres, including short stories and poetry, as well as journalistic articles. This article is based on the prospect that the narrative ecosystem is in a transitional period of decisive disconnection as it enters the era of artificial intelligence. The primary force driving this transition is the formidable execution of artificial intelligence algorithms, which fully automate narrative communication and narrative works. This article attempts to lay the groundwork for building a new paradigm of post-narrativity through a critical examination of several detailed themes in narrative semiotics and non-anthropocentric narratology. The process of narrative creation based on artificial intelligence algorithms is a key condition that constitutes post-narrativity. This presupposes a non-anthropocentric view. In the landscape of post-narrativity, human writers, paper books, computer screens, and invisible narrative algorithms are all agents with equal influence. Automated narrative production by algorithms accelerates the repositioning of other existing media and actors, and changes the narrative ecosystem by incorporating new elements into activities such as production, distribution, and reception of narratives. [ABSTRACT FROM AUTHOR]

A model called the "semiotic ladder," which consists of "consecutive semiotic squares," is proposed in this paper, through which the meanings of the deep structure of a narrative can be depicted as fluid and dynamic. It shows the stages of producing meanings in the narrative, from beginning to end. To see this, several narratives in the epic and mythological genres are analyzed in order to discover their abstract and deep structural meanings, and to prove the dynamic nature of meaning in the semiotic ladder. According to the analysis, the process of the semiotic ladder depicts the displacement and fluidity of narrative meanings using consecutive semiotic squares, and this pattern can be applied to and implemented in all narratives. Also, the semiotic ladder allows us to clearly observe the pattern of movement of the narrative subject schema in the path of accomplishing the object. [ABSTRACT FROM AUTHOR]

Many an ethically minded translator would think twice or thrice prior to translating an ideologically loaded text as they need to reflect the encoded ideologies of the original narrative in the target narrative. Yet, some translators decide, for different reasons, to undermine and challenge the narratives in question, thus applying various reframing strategies to superimpose certain directionality on the original narratives. This paper, therefore, examines the English translations of the Arabic editorials on Daesh (ISIS), published by the Washington-based Middle East Media Research Institute (MEMRI) that has a large impact on the US policy and the public. In this paper, we explain how media translation contributes to (re)framing the current civil war in Syria on the one hand, and how this promotes the narrative of 'Arab and Muslim terrorists' on the other. The study finds that by relying on the narrativity feature of selective appropriation, MEMRI extensively employs the textual reframing tools, i.e., addition and omission, thus promoting different narratives of the civil war. We propose that rival narratives could be circulated through translation where the translators reframe the original narratives and reconstruct the embedded narrativity features that, in turn, renegotiate the original arguments. [ABSTRACT FROM AUTHOR]

This paper asserts that creativity and criticality are interlocked constructs that converge through the shared impetus of challenging existing norms, practices and relations of power. Drawing on data from a student YouTube adaptation of a play about Filipino migrants from a literature textbook, it examines how high school students in the Philippines use their linguistic, multimodal and digital resources to retell a prescribed narrative from their own perspectives and contexts. By conducting a multimodal discourse analysis of this video, this paper demonstrates how these youth engage with translanguaging and transmediation, reshaping the meanings of the primary text while imagining spaces like Canada from their own fixed locations in the Philippines. Through these creative and critical processes, they are able to challenge the boundaries of both word and world, and assert their own voices in the discourse of migration and globalization. [ABSTRACT FROM AUTHOR]

This paper questions the narrative widely used in historical research that from the time after the Fourth Lateran Council (1215), the canonical punishment of sodomy was tightened and sodomy was ultimately persecuted as heresy. Particular attention is paid to the ecclesiastical prosecution of heresy in the pontificate of Gregory IX in comparison to the treatment of the offence at the Lateran Councils of 1179 and 1215 as well as in the confession summa of Raymund of Peñafort. Due to the opposing presentations of the issue by Raymund and Gregory, this essay also contributes to the question of the relationship between the Pope and the compiler of the Liber Extra. [ABSTRACT FROM AUTHOR]

Disruptions in theory of mind faculties and the ability to relate to an intersubjective reality are widely thought to be crucial to schizophrenic symptomology. This paper applies a cognitive linguistic framework to analyze spontaneous perspective-taking in two corpora of stories told by people with a schizophrenia diagnosis. We elicited natural narrative language use through life story interviews and a guided storytelling task and analyzed the linguistic construal of viewpoint in these stories. For this analysis, we developed a reliable and widely applicable viewpoint model that allows for the categorization and quantification of speakers' linguistic presentation and navigation of spatiotemporal domains. We found that our participants skillfully presented, navigated and embedded different narrative viewpoints through a variety of linguistic viewpoint devices. They presented complex viewpoints of other people in both the here-and-now of the interaction and the there-and-then of a narrative, and made use of transition markers to demarcate spatiotemporal discourse domains. We found no differences in viewpoint variables when comparing their guided stories to a control group. If problems with intersubjectivity are indeed an essential part of schizophrenia, an explanation of how this group can take on and navigate complex linguistic viewpoints in natural narrative interaction is called for. [ABSTRACT FROM AUTHOR]

Copyright of Historische Zeitschrift is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article aims to examine the narrative impacts and social influences of screen violence in audiovisual media. It suggests an integrative approach to synthesising the recent research findings in different disciplines such as cognitive science, media studies, neuroscience, and social semiotic theories. Based on the theoretical synthesis of narrative effects and persuasive functions, this paper establishes a method for analysing the contextualisation of violent events. In particular, the analytical method focuses on the two main narrative mechanisms for contextualising violent events, justifications of characters' motivations for using violence and depictions of consequences. This article will apply the method to elucidate how different kinds of contextualisation yield different types of narrative impacts, persuasive potentials, and the ways in which social, political, and ideological issues can be learnt. Furthermore, a typology of characters' motivations is also provided, which are often used for justifying the characters' violent actions in audiovisual narratives. This paper also unravels how genre expectations are closely related to narrative functions of screen violence, particularly how genre shapes the viewers' prediction and interpretation of violent events. Finally, the methods for motivation analysis of violent narrative events are extended to examine a particular genre of interactive audiovisual texts - empathy games. [ABSTRACT FROM AUTHOR]

The paper is a study of how graphic narratives (graphic novels and the comics) represent time in external visual space as well as in inner (mental) representations. Peirce's semiotics is the main tool of research. After a survey of various approaches to the study of time in narratives in general and in graphic narratives in particular, an outline of the various aspects of the embodiment of time in space in general is given before the forms of the embodiment of time in the space of graphic narratives is examined in detail. Signs of time are signs that represent time as their object and create mental representations of time as their interpretant. On this semiotic premise, the paper proposes a reinterpretation of Genette's theory of time in narratives. A comparison with narratives in prose reveals that narrative time in graphic narratives evinces marked discontinuities in their spatial representation. The paper distinguishes between time as continuity, time as age, and points in time. It concludes that time as continuity is typically embodied in the form of spatial diagrams whereas time as age and points in time are mainly of the nature of indexical signs. The insights into the forms of embodiment of time in space derived from these premises are applied to examples from recent graphic novels and some traditional comics. [ABSTRACT FROM AUTHOR]

The Routledge encyclopedia of narrative theory is the first encyclopedia of narrative theory in the world to reference the practices of the Chinese narrative tradition and theory. However, the editors have compiled the encyclopedia from the systemic perspective of their knowledge of contemporary Western narratology, focusing on the characteristic differences between contemporary Western narratology and the narrative theories of the so-called ancient non-Western societies. To help overcome this shortcoming, this paper introduces the Chinese narrative tradition from the standpoint of Sinology, attending to the oral/written and history/narrative dichotomies that represent the editors' academic preferences; additionally, it also provides insights into the characteristics of the varied Chinese narrative theories recorded in the encyclopedia from the perspective of contemporary Western narrative theory, and highlights the Chinese contributions to the construction of the knowledge system of narrative theory. [ABSTRACT FROM AUTHOR]

With its creation of fissures and fragments, the montage is uniquely positioned to question the representational power of architecture. When related to the field of preservation such a gesture conflicts with preservation's traditional urge to reinstall and complete the architectural fragment into a grander narrative and its underlying leitmotif of authenticity and integrity. From an analysis of Alex Lehnerer's and Savvas Ciriacidis's installation Bungalow Germania, the paper explores the possibility of an experimental and critical notion of preservation. A notion emerging from the artistic strategy of montage which frames the fragment as productive rather than reductive. With that, preservation might become a creative just as much as restorative field of practice. [ABSTRACT FROM AUTHOR]

The paper analyses the most significant exegesis of the Creation narrative in Eusebius's work. This exegesis reveals Eusebius's deep and hidden dependence towards Origen – especially his idea of a "double Creation" (intelligible and sensible Creation). The question remains which works of Origen were used by Eusebius and why Origen is not openly mentioned. [ABSTRACT FROM AUTHOR]

This paper describes the evolution of grammaticalized evidentiality in the Moldavian dialect of Hungarian. It documents how the suffix -a/e, originally the marker of narrative past, became a rare, elevated marker of past tense highlighting significant past events; how it assumed a mirative overtone; and how the features ʻwitnessedʼ and ʻimmediate pastʼ, often present in mirative utterances, became inherent parts of its meaning. This grammaticalization path has resulted in an evidential system with typologically unique features. It is a two-term system based on the opposition of direct evidentiality and no evidentiality – violating the alleged universal that if a language has grammaticalized direct evidentiality, it has also grammaticalized indirect evidentiality. Mirative meaning is expressed by the same -a/e suffix that also encodes direct evidentiality – whereas it is claimed to be the extension of inferred evidentiality elsewhere. The unique properties of Moldavian Hungarian evidentiality are derived from the historical evolution of the -a/e suffix. [ABSTRACT FROM AUTHOR]

In this paper, we specify features of a narrative that are responsible for its suspensefulness. Taking Noël Carroll's account of erotetic narrative as our point of departure, we argue that a narrative is experienced as suspenseful because it gives rise to so-called potentially inquiry terminating questions. Such questions suggest to readers that they are just about to get the information they are reading for. Due to this highly specific erotetic structure, suspenseful narratives trigger cognitive and emotional mechanisms that are associated with what has been called a "near miss" in studies on gambling behavior: a situation which suggests a player that she has almost achieved a favorable result. In spelling out the details of the theory, we propose both a causal explanation of narrative suspense and defining properties, such that instances of suspense can be distinguished from instances of other states of readerly excitement. [ABSTRACT FROM AUTHOR]

This paper focuses on how Italian narratives of the 2000s address the individual as a citizen of the nation-state. More specifically, it focuses on those narratives where writers or directors display issues of national importance and by doing so they deliberately intervene in the citizen's pursuit of social identity. The aim of the paper is to point out how this impacts on national storytelling and how literature and film highlight and even exacerbate the crisis between citizen and state in the global era. [ABSTRACT FROM AUTHOR]

Copyright of Zeitschrift für die Alttestamentliche Wissenschaft is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

What are the narrative functions of the present tense in medieval narrations? In order to address this question, the paper brings together linguistic observations on tense semantics and a literary analysis of ›Wilhalm von Wenden‹ by Ulrich von Etzenbach. It shows that the present tense can refer to three different kinds of ›now‹, i. e. the ›discourse now‹, the ›story now‹, and the ›recipient's now‹. In all three contexts, the present tense is not used as a narrative tense but rather indicates a speaker's voice commenting on the events. This leads to the hypothesis that the development of the ›narrative present‹ (as common in modern novels) is based on two requirements: The decoupling between the ›discourse now‹ and the diegetic world as well as the decoupling between the author and the fictional instance of the narrator. [ABSTRACT FROM AUTHOR]

This paper draws from linguistic anthropological and ethnographic fieldwork to illustrate the role of award ceremonies in maintaining and creating affective orientations toward rivalry among Alaska dog mushers. It focuses on award speeches given by dog mushers and others involved in the Alaska dog mushing community and reveals a "need for narrative" that has characterized sled dog racing since its origin as an (inter)national sport. Mushing "stories" are constitutive of public talk about wins and losses in the sport, as well as about race events that take place far from view on distant trails. Specifically, "accounts," a humorous narrative genre that pivots upon unpredictable "instinct-driven" characteristics of canine athletes, serve as an important idiom for evoking chance in describing wins and losses. The performance and appreciation of these narratives constitute the intangible heritage of Alaska dog mushers, and accounts emerge as a semiotic resource for negotiating and downplaying rivalry through orchestration of embodied intersubjective sentiments, i.e. affect. [ABSTRACT FROM AUTHOR]

People who spent time in public care as children are often represented as 'care leavers'. This paper investigates how 'care leaver' is discursively constructed as a group identity, by analyzing 18 written personal experience stories from several charity websites by people identified or who self-identify as care leavers. Several approaches to narrative analysis are used: a clause-level analysis based on Labovʼs code scheme; the identification of turning points; an analysis of 'identity work'; and an analysis of subject positions relative to 'master narratives'. The findings from each of the methods are then combined to reveal how intertextual, narrative-structural, and contextual factors combine to constitute a common care leaver discourse. This forms the basis for a characterization of 'care leaver' group identity as 'survivors of the system'. The findings also reveal how 'care leaver' as type, including stereotype, influences how identity is constructed in the personal experience narratives. [ABSTRACT FROM AUTHOR]

This paper studies the trauma narrative of Toni Morrison's novel, A Mercy (2008), using a cognitive narratological framework. The authors, in this paper, describe the response the novel elicits from the reader. And the paper argues that multiple focalization, polychronic narration, and representation of inconsistent information enable Morrison to depict effectively the devastating effects of trauma--whether sexual, socioeconomic, or racial--on individual personality. Various characters of multi-ethnic origins narrate the novel and certain events are told repeatedly from different vantage points. Thus, the narrative calls forth continuous efforts on the part of the reader to process the complex and bewildering information emerging from the novel's storyworld. A cognitive approach to the study of the novel provides an understanding of the behavior of the traumatized and the impact of slavery on black people's consciousness and identity. Moreover, the approach gives insight into the manner in which the narrative engages the readers cognitively in such a way that it enables their comprehension of the relationship between individual trauma and social forces of injustice and oppression. [ABSTRACT FROM AUTHOR]

‚Three Wishes for Cinderella‘ (Tři oříšky pro Popelku / Drei Haselnüsse für Aschenbrödel) is one of the most successful fairy tale films in Czech and German TV. Produced in 1973, it is shown up to now regularly around Christmas in both countries. Every year around the same time, at Moritzburg Castle near Dresden, which has been chosen as place of the ball in the movie, one can see a special Cinderella exhibition. In his paper the author investigates the question of the success of this film. He presents the conditions of the Czech-German joint production during the time of the so called normalisation after the Prague Spring. He compares the story and figures with its literary models (Božena Němcová, Brothers Grimm), and discusses some theories about the modernity of characters, especially of Cinderella as a modern emancipated woman. The core of the paper is the analysis of the narrative structure itself, which may be considered as the secret to the success of the movie. [ABSTRACT FROM AUTHOR]

‚Three Wishes for Cinderella’ (Tři oříšky pro Popelku / Drei Haselnüsse für Aschenbrödel) is one of the most successful fairy tale films in Czech and German TV. Produced in 1973, it is shown up to now regularly around Christmas in both countries. Every year around the same time, at Moritzburg Castle near Dresden, which has been chosen as place of the ball in the movie, one can see a special Cinderella exhibition. In his paper the author investigates the question of the success of this film. He presents the conditions of the Czech-German joint production during the time of the so called normalisation after the Prague Spring. He compares the story and figures with its literary models (Božena Němcová, Brothers Grimm), and discusses some theories about the modernity of characters, especially of Cinderella as a modern emancipated woman. The core of the paper is the analysis of the narrative structure itself, which may be considered as the secret to the success of the movie. [ABSTRACT FROM AUTHOR]

The present study sets out to investigate how terror and terrorism are mediated through narratives of translation by Greek online newspapers. Combining Critical Discourse Analysis (van Dijk 1997 inter alia; Wodak 2001; Wodak et al. 2009; Schäffner 2004) and Narrative Theory of translation (Baker 2006, 2007, 2010), this paper has a double objective: to measure in the first place each medium's stancetaking toward terrorism mainly by considering headlines and frequency of some words designating the Other, and in the second place to put these results to the test of translational strategies observed in the data. As results show, media coverage of terrorism seems to vary from one medium to another: negative framing or positive framing is displayed both in the headlines chosen, the frequency of some words and in the narratives, being all the product of translation; translation in the present study is seen as being a socio-political activity, which is built on and builds and maintains social power, while playing a key role in constructing the Other. The analysis of the data reconfirms the key role of translation in the news production and concludes that it is indeed an ideology-based process and a means to accentuate western values, by promoting an orientalist conception of the Other, through selective appropriation, inaccurate translations, and amalgamation or generalization strategies, or less frequently as a means to foster intercultural dialogue and to attenuate a negative discursive construction of the Other. [ABSTRACT FROM AUTHOR]

The paper argues for a revision of the textual history of the Old Russian Skazanie o Drakulě. According to its editor Lur'e (1963) the text had been produced by Fedor Kuricyn in 1485 and transcribed by well-known copyist Efrosin in 1486 and in 1490. Lur'e characterises the Skazanie as a politically motivated description of a "cruel but righteous sovereign", produced by the diplomate Kuricyn and comparable to Western Renaissance political treatises. Lur'e's statements only argue ex negativo and fail to match the textual evidences. 1: Our paper shows in detail, that the two main redactions of the text, both datable in the 90's of the 15th c., display mutual dependencies and require a protograph as their common ancestor which needed much more time to develop than is left between Kuricyn's assumed return from Moldavia to Moscow in the middle or at the end of 1485 and Efrosin's first transcription in February 1486. While the textual history of the Skazanie cannot be historically aligned with Kuricyn's mission to Moldavia and his return to Moscow in 1485, there is no argument left to attach the name Kuricyn to the text at all. 2: The reception of the Skazanie until today is based on the assumption that the text would characterise the reign of 'cruel' Ivan IV. There is no objective argument for this suggestion, but numerous counterarguments. 3: The paper characterises rhetoric strategies in the narratives about Drakula, showing, among others, a connection with a South German (Bavarian) episode, and pointing to the possible origin of a historically relevant question (the "sister" of the Hungarian King). [ABSTRACT FROM AUTHOR]

The Getty Hexameters are an enigmatic text that reveals a conception of the pragmatic force underlying mythic narratives. Although some scholars have concluded that the text is a composite of multiple spells, this paper argues for reading the text as a unified narrative marked by a hierarchy of authoritative speech acts that draw on the authority of three apotropaic divinities: Paean, Hecate, and Heracles. These layers of narrative acts follow a sequence of revelation, mythological analogy, and aitiology, all of which come together to demonstrate the efficacy of the text as an apotropaic charm. [ABSTRACT FROM AUTHOR]

The article offers information on the International Society for Folk Narrative Research (ISFNR) conference that was held in Ragusa in Sicily. It mentions that the papers were organized into 29 panels, with a conference of the Belief Narrative Network (BNN), a sub-organisation of the ISFNR being chaired by Mirjam Mencej.

This paper looks at instances of second person narration in the first journal published in The Unabridged Journals of Sylvia Plath (Kukil, 2000) in order to determine the potential that second person narration can have for the linguistic representation of mental states. The contributions of different disciplines (narratology, linguistics, psychology) to the study of second person narration are considered and their findings are re-applied to a non-fictional text. In a corpus-informed comparative analysis, the paper takes into consideration both perspectives from narratology and developments in the understanding of language use in the field of psychology to provide an interdisciplinary, but cognitively inclined perspective on the phenomenon. Appearances of second person narration are chronologically tracked through the data and compared to biographical developments in Sylvia Plath's life; entries written in the first- and second person are compared to each other to determine linguistic differences using corpus methods; the results of the two analyses are then interpreted in the light of traditional functions attributed to second person narration in narratology, and in the light of research in narrative psychology. The paper aims to demonstrate that second person narration can project a sense of emotional depth and inner conflict as well as of emotional balance. However, the temporal orientation of a given text will influence which of these effects predominates. [ABSTRACT FROM AUTHOR]

Kierkegaard is famous for his use of narrative set pieces to illustrate and make vivid his ideas to his reader. Less famous is his use of narrative variation, a technique deployed twice in Fear and Trembling, in which he takes a given narrative and introduces a series of variations on the narrative to explore the possibilities of selfhood made available to the narrative's protagonist. In this paper I explore this technique, help determine the ends it serves, and then apply this understanding to the use of the device in the text to see how it functions to advance its argument. [ABSTRACT FROM AUTHOR]

P.Freib. IV 47 (two separate fragments) preserves a narrative text that is too fragmentary to allow the reconstruction of a plot. In the present paper, we suggest improvements to the text and collect parallels which reinforce the current view that it comes from a lost novel; we also address the possibility that this novel could have a Christian theme. [ABSTRACT FROM AUTHOR]

Narratives in literature and even in the comics have become self-referential. A self-referential narrative sign is one that represents itself. The sign is its own object, narrating and narrated time become conflated. Instead of narrating a story, a self-referential narrative narrates that it narrates and how or why the characters in the narrative have found their way into the narrative. M.-A. Mathieu's L'Origine is a self-referential comic book story of a protagonist who learns from his narrators, a team of comic book artists, that he exists only on the paper of a comic book. Two semiotic devices of self-referential verbal and pictorial narrating are distinguished and examined. Iconic self-reference is exemplified by self-repeating signs and signs that represent themselves in the form of mirror texts or self-referential pictures in the picture (mise en abyme). Indexical self-reference is exemplified by the devices of fragmentation and metalepsis, the participation of a narrator in the narrative events. Metalepsis leads to narrative paradoxes and is a major source of humor. [ABSTRACT FROM AUTHOR]

Some narratives are explanatory, and some explanations are given by narrating. But are there explanations which are explanatory because they are narratives, as many seem to think? In this paper, I analyse and reject the idea that such special, narrative explanations exist. Since the concepts of narrative and explanation are contested, both concepts need to be explicated in order to investigate whether narrative explanations exist. As for explanation, the idea that some narratives are explanatory because they are narratives is often expressed by saying that the narrative form contrib­utes to the explanatory force of the explanation. Unfortunately, the notion of explanatory force is but a rather vague picture. It is not entirely clear what a contribution to explanatory force might consist in. After explicating what counts as an explanation, I therefore propose to substitute the notion of explanatory force by a more precise account. The one that is chosen for the purposes of this paper (but not the only possible choice) is van Fraassen's account: explanations are seen as at least answers to how-questions or why-questions which are relevant for the explanandum in the right way. From this, the tasks follow for anyone claiming that some explanations explain because they are narrative: an explanation which is explanatory because it is a narrative should, firstly, be an answer to a why- or how-question which is relevant to the explanandum in a way that can be traced back to defining or typical features of narratives. Secondly, the explanation should not be reducible to other well-known ways in which explanations can be relevant for their respective questions, such as causality. Thirdly, the explanation should be able to deal with the typical problems of theories of explanation, i. e. they should be able to deal with the canonical list of problem cases for any theory of explanation from the debate in the philosophy of science. My explication of the notion of narrative already stands in this context. In order to find relevance relations between answers to how/why-questions and explananda which could make an explanation essentially narrative, I search popular conditions for ›narrative‹ given by Lamarque, Henning and Ryan. ›Narrative‹ has been defined in quite different ways. Definitions of ›narrative‹ especially differ in complexity. Lamarque's definition is chosen because it is minimal in this respect. Henning's definition, on the other hand, is arguably the most complex definition available at the moment. To show that these definitions probably exhaust the possible candidates for relevance relations, they are complemented by a list of definitorial features by Ryan, who in turn compiled many modern definitions. The three definitions of ›narrative‹ give us a list of six relevance relations: sequentiality, i. e. a narrative explanation is explanatory because it lists a sequence of events leading up to the explanandum; meaningful connection, i. e. a narrative explanation is explanatory because it shows the explanandum to be connected to other events in a meaningful way; storyness, which consists in the combination of the first two candidates; intentionality, i. e. a narrative explanation is explanatory because it gives someone's reasons for bringing about the explanandum; dramaticity, i. e. a narrative explanation is explanatory because it puts the explanandum at the end of an emotional sequence; and closure/completeness, i. e. a narrative explanation is explanatory because it puts the explanandum at the end of a story. In the main part of the paper, these inherently narrative candidates are then identified in the literature on narrative explanation, and I subsequently ask whether they can provide a relevance relation between explanandum and explanans which fulfils the three conditions given above for any explanation that is explanatory because it is narrative. As it turns out, none of them fulfils even the first two of the three conditions. Essentially, three types of problems befall the candidates. Some, like sequentiality, cannot guarantee that a narrative is explanatory. One can provide counterexamples of narrative sequences which are not explanatory. Others, like meaningful connection, turn out to be mere placeholder terms for a relevance relation, i. e. they do not tell us what the relevance relation consists in. Some candidates can be reduced to well-known relevance relations like causality, thereby giving up on the idea that narrative explanation is different from other types of explanation. Finally, some candidates display a mix of all these problems. I conclude that there is no special type of explanation which is explanatory because it is narrative. The last section of the paper then situates these considerations in their historical contexts, starting with Hempel's theory of explanation. The question is asked why the idea of a special, narrative type of explanation seemed attractive in the first place. I come up with three tentative answers: the widespread discontent with Hempel's theory of scientific explanation, the availability of narrative as an obvious but allegedly underrated aspect of explanations, and the availability of a list of candidates for which narrative explanation was supposed to work. None of these historical reasons, however, is ultimately conclusive. [ABSTRACT FROM AUTHOR]

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Image narrative was long regarded as imitation of a story already told in word narrative rather than as direct imitation of real life. In the connection between imitation and medium, there are the phenomena of the medium's own position and "Anders-streben." The former emphasizes the medium following its own nature, and the latter means not only following its own nature but transcending itself to pursue another aesthetic effect. "Inter" in intermedia narrative goes beyond the nature or strengths of an artistic work and its medium, resulting in a narrative form that showcases the characteristics of other literary works or media rather than giving full play to its own strengths. Of course, the so-called "laws of imitation" outlined by French sociologist Tarde must be followed: (i) imitation from within to without and (ii) imitation of the superior by the inferior. Whether in the former or the latter, word is a more advantageous medium, since it serves more easily as the model for images or other media to imitate in lyric expression or narrative activities. The laws of imitation are the underlying cause why image, as a spatial narrative medium, manages to achieve the corresponding temporal effect by imitating word narrative. [ABSTRACT FROM AUTHOR]

This paper is a critique of narratology's generality thesis and especially focused on a corollary of that thesis, the "sameness premise". It says that all objects designated by the noun "narrative", whether actual, possible, or fictional, are defined by some basic intrinsic properties. This goes for ordinary informative telling of events as well as for literary art, such as novels and short stories. The latter assumption is rejected by me and theorists taking up a "difference premise" instead. Literary art should not be included within a general category of narrative. It would be more correct to regard it as sui generis, since it manifests a system quite different from and incompatible with narrative as this system is defined by standard narratology. For example, ordinary narrative accounts display logically a two-place relation between the denoting signs and the denoted contents (events); while the artistic representations produced by literary art and other art-forms do not denote anything outside themselves– the relation between signs and content is one-place. I discuss this theoretic problem from two sources: modern narratology in conflict with artistic/aesthetic theory and the mimesis-debate in Greek antiquity between Plato and Aristotle, where Plato is advocating a sameness and Aristotle a difference premise. [ABSTRACT FROM AUTHOR]

This paper first develops a theoretically motivated view of narrative as a special form of inferential, cooperative human communication, of the role that the past tense plays in the intersubjective coordination of narrators and readers, viz. that of 'curtailing' the immediate argumentative applicability of the represented situation, and of its relation to viewpoint management. In three case studies, it is subsequently shown how this helps to elucidate certain effects of present and past tense alternations in stories. While these effects are multi-faceted and highly text-specific, there is a common denominator of the use of the past tense in the dimension of narrator-reader communication in the narratives. The analysis supports an independently motivated conception of intersubjectivity that assigns a special status to 'coordination with other minds', apart from senders and addressees. [ABSTRACT FROM AUTHOR]

The paper aims to explore documentary evidence in legal discourse from a socio-semiotic perspective and argues there is reconstructive and deconstructive nature in legal narratives and the hegemony in legal narratives can be regarded as conventional. Based on case studies relevant to Control of Obscene and Indecent Articles Ordinance in Hong Kong, the paper finds that spatial manipulation and voice manipulation were employed as strategies by court to create legal hegemony in narratives. Unraveling such strategies helps to deconstruct legal hegemony. The paper concludes that documentary evidence is characterized by the essential features of a sign, which can be subject to the influence of spatial and temporal manipulations, because such kind of evidence is subject to multiple interpretations. [ABSTRACT FROM AUTHOR]

In the paper, we propose a new focus in qualitative organization studies, which we call organizational anecdotal evidence. The novelty of our method is in linking storytelling, studies of organizational anecdotes, and humor studies. We claim that organizational anecdotes, jokes, and short fictional stories should become a core object of organizational culture analysis, rather than be refuted as unimportant. This is so because the study of organizational anecdotes and fictional stories shared by the social actors is more meaningful and gives more insight into their culture than establishing mere facts. In the article, we briefly relate the limitations of factual studies in many areas of organizational research, describe the theoretical background of our method (coming from humor studies, storytelling, and organizational anecdotes analysis), and propose their combination as a new approach for organization scholars, namely, organizational anecdotal evidence research. The utility of the proposed methodological approach is demonstrated based on original research conducted in a public administration organization. [ABSTRACT FROM AUTHOR]

The Lives of Saints as well as fairy-tales eventually tell of animals which have the gift to speak. The categorization of phenomena like speaking animals is dependent on the epistemic structure of the narrated world. On the example of ‘speaking deers’ the paper outlines, that in hagiographic literature speaking animals are reported as miracles, which are to testify either the holiness of a place or the person they are speaking to. On the contrary, in fairy-tales speaking animals are part of the expected actors to appear in the structure of the narrated world and are not marked as miracles, at all. Consequently, the semiotic status of such phenomena can be differentiated: hagiography tends to symbolical or metaphorical meaning, fairy-tales to allegoric meaning. The difference between symbolic and metaphorical meaning in hagiography is shown in comparing two episodes including a speaking deer as if Christ himself is speaking. In Vita Placida, the deer has the specific and contextually supported gnostic meaning ‘soul’, while in Vita Huberti the deer only takes iconically induced metaphoric meaning (wearing cross-like antlers = carrying the cross), but in the fairy-tale the deer is an allegory of a human character trait and thus can be substituted by another allegory without change of context. [ABSTRACT FROM AUTHOR]

This paper attempts to apply Greimas's narrative semiotic approach in legal discourse interpretation. To be more specific, it examines different levels of meaning structures-both deep and surface structures-of a legal case report with the aim of demonstrating the logic of legal signification. The surface structure of the case report is examined through the actantial narrative schema and the canonical narrative schema which also helps manifest the transformation of the actant's modalities in different phases of his/her quest. The narrative logic of case reports as a legal genre can thus be obtained at the end of the analysis. The deep structure of the case report is presented in forms of semiotic square, in which a series of underlying logical implications of the case report is visualized. Furthermore, the study shows that the two levels of meaning structure (surface and deep) are logically consistent and the deep structure underpins the surface one. [ABSTRACT FROM AUTHOR]

This paper examines language stylization in Aigia Fuxia ('The Fuchsia Goat'), a highly popular Greek Cypriot sitcom, where the (imagined) linguistic and socio-cultural 'self' of a dialect-speaking community is subjected to extreme and aberrant stylization. The overarching filmic and generic trademark of Aigia Fuxia is its consistent pinpointing of its intertextual relations to well-established Cypriot comedic media genres, in which the language and the lifestyle of the 'rural' part of the speech community is performed following specific generic and linguistic conventions. Aigia Fuxia dismantles these conventions through the artful deployment of a medley of content, generic, and filmic choices and, crucially, through extreme dialect stylization, ultimately a 'de-authenticizing' move, especially as it goes hand-in-hand with other linguistic choices, which are dissonant both in terms of genre and in terms of the series' baseline stylized dialect register. In this paper we show that such bricolage generates rich interpretive potential: from a filmic perspective, the use of techniques which may befuddle viewer expectations regarding the genre cunningly pinpoint the processes whereby generic and narrative conventions are constructed," from a sociolinguistic perspective, the extreme stylization of the Cypriot Greek dialect may be seen as performative destabilizing of dominant folk linguistic constructs about standard language and dialect in a context of dialect leveling and emergent diglossia resolution. [ABSTRACT FROM AUTHOR]

This paper aims to establish the origin of the narrative schema in the perception of intentional movements. The distinction between mechanical and intentional movements is vital for human beings, and the narrative schema, which is underpinned by this distinction, is therefore a basic cognitive principle of intelligibility. This is the reason why the narrative schema is by no means confined to the domain of the literary work of art. It is rather a major principle for the combination of partial significations in many other domains. The paper explores the role traditionally assigned to the narrative schema within continental semiotics and, through an interpretation of Heider and Simmel's study on apparent behavior, it establishes the cognitive import of the narrative schema and its origin in visual perception; finally, it gives examples of the meaning organizing import of the narrative schema. [ABSTRACT FROM AUTHOR]

The use of diagrams as a tool of narrative analysis is a fundamentally semiotic project whose origins can be traced back to the emphasis placed by the structuralist movement on the synchronic systems that underlie signification. Defining diagrams as a spatial presentation of information which conveys meanings that could not be expressed in the linear form of a text, a list, or a formal coding system, this paper focuses on attempts to represent individual narrative plots, as opposed to diagrams that model a universal narrative structure or discourse phenomena. Through the analysis of diagrams relating to three aspects of plot — time, space, and mind — this paper argues that graphic representations are not merely a tool for representing narratological knowledge, but an important way to produce this knowledge. At their very best, they can be the seed of a new theory. [ABSTRACT FROM AUTHOR]