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How should critics approach narrative temporality in times of ecological disorder? Literary critics have attempted to bridge eco-criticism with narrative theory, shifting attention from narrative content to narrative form. Econarratology studies how narrative shapes our understanding of the environment. Yet, eco-critical interrogations of narrative form are lacking. Grounded in a homogeneous conception of time, narratology often relays a dichotomy between narrativity and “dysnarrativity”. This dichotomy fails to translate the variety of temporal processes in film. I shall highlight the problem underlying Jacques Rancière's critique of Deleuze's film-philosophy and its relevance for narrative theory. My discussion of this dispute is grounded in the examination of Apichatpong Weerasethakul's Uncle Boonmee Who Can Recall His Past Lives (2010). Critics invariably base their analyses on Boonmee's remembrances and reduce narrative complexity to dysnarrative indeterminacy by accommodating non-human storylines into a human plot. I argue that Uncle Boonmee both confirms and bypasses the critique of linear narrative that is at heart of the Rancière-Deleuze discussion. In doing so, Weerasethakul's feature calls for a new paradigm – different, yet unlike the crystalline narrative, positively determined. By bringing the event to the fore, Deleuze offers another theoretical backdrop for event narratology, that in turn proves useful to econarratology.

An episodic memory is considered to be mentally encoded or constructed information instead of a copy of the past events. However, the mechanism that constructs episodic memory has not been systematically formulated in previous studies on cognitive architecture and system. In this study, the term “story” is used, rather than episodic memory, to refer to a mental representation of temporally and linguistically organized events and entities. The main difference between a story and an episodic memory is that a story involves a form of mental representation, while the definition of an episodic memory is generally based on the function or content (i.e., it enables the recollection of past events). A story is considered as a uniform mental representation involving episodic memory, current situation, prospective memory, planned or imagined future, and fiction. To ensure systematic formulation of the story-form memory construction, this study introduces Genette’s narrative discourse theory, which is a representative work in narratology. Genette provided a systematic classification of terms used to describe a narrative structure, with particular focus on how a narrative is structured on a text instead of what is told. In this study, Genette’s narratological terms are analogically translated to methods of story-form memory construction in a cognitive system. Furthermore, the narratological methods are rearranged using cognitive terms including temporal segmentation of the world, generalization of stories, theory of mind, metacognition, self-formation, memory organization, and sociocultural aspect of cognition. Thus, a story is characterized as integrative, multifaceted, and multifunctional information in the mind.

The following study aims to advance knowledge about the effects of narration and point-of-view formats on attention, arousal, and recall for persuasive messages relayed in public service announcements (PSAs). The experiment combines two frameworks, narratology and valence, to expose subjects to 12 different PSAs concerning the topic of animal abuse. Both psychophysiological data and self-report measures were analyzed to determine if three formats of narratology regarding point-of-view (no vocal POV vs. first-person vs. third-person) with two valences (positive vs. negative) have an effect on arousal, as indicated by skin conductance; attention, as indicated by heart rate and memory, and recall as indicated by a posttest unaided recall. The findings contribute toward understanding the emotional and cognitive effects that stimuli have on arousal, attention, and memory.

An episodic memory is generally defined as a memory that enables the recollection or remembrance of past events or experiences. It is not assumed as a copy of the past events themselves and is instead assumed as corresponding to mentally encoded or constructed information. However, the mechanism that constructs episodic memory is not systematically formulated in previous studies on cognitive architectures and systems. In this study, the term “story” is used, rather than episodic memory, to refer to a mental representation of temporally and linguistically organized events and entities. The main difference between a story and an episodic memory is that a story involves the form of the mental representation, while the definition of an episodic memory is generally based on the function (i.e., it enables the remembering of past events). A story is considered as a uniform mental representation involving episodic memory, current situation, prospective memory, planned or imagined future, and fictional story. In order to ensure a systematic formulation of the story-form memory construction, this study introduces Genette’s narrative discourse theory, a representative work in narratology. Genette’s theory is characterized by its systematicity. He provided a hierarchical classification of terms to describe a narrative structure, with particular focus on how a narrative is structured on a text as opposed to what is told. In this study, Genette’s narratological terms are analogically translated into methods of a story-form memory construction in a cognitive system.