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This is the first book-length exploration of the type-scenes of western medieval literature from the ninth to the fifteenth centuries, spanning both the Latinate and Germanic traditions. Type-scenes are the recurring, stock scenes comprising the basic structure and cognitive guidance for narrative. These formulaic scenes enabled medieval poets to express originality while honoring tradition. Central to medieval poetic invention, type-scenes form the vital “internal organs” of narrative, each serving a specialized function while working in concert with other organs to create and sustain the story. This accessible and engaging guide to medieval type-scenes consists of three parts: Part I is a compendium of the type-scenes commonly found in medieval narrative, including analyses of examples from individual poems. Part II explores combinations of type-scenes within single works of literature for purposes of chronology, characterization, or virtuosity. Part III examines how a single type-scene manifests across multiple poems, adapting to a variety of settings and periods, while maintaining its original intent. This volume kindles in scholars, teachers, and students alike a new and refreshing awareness of the foundational narrative strategies of medieval literature.

This book provides practical tools, models, and frameworks for thinking about how a story is structured, all in order to help us think about conflict. Using examples from literature and films for developing narrative competence in everyday life, the book illustrates a new model of four basic plot types that can push a reader/viewer either toward political struggle (a justice or vindication story) or toward a journey of self-realization (a peace or reconciliation story). The examples used in the book span a wide array of conflict situations, from climate change to native American genocide, from reproductive rights and gender-based violence to Algerian independence and Arab identity, from Jim Crow segregation and civil rights to the Vietnam War and colonial collapse, from Latino educational opportunities to the liberation of Bengal and the emergence of the idea of the Global South. This simple-to-use model of story grammar is integral for the practice of both politics and peacemaking and opens a new window on literary analysis and the craft of storytelling. Along the way, it provides us with a new way to understand human purpose and offers precise definitions of the concepts of peace and justice.This book will be of great interest to students and practitioners of international relations, security studies, political theory, and peace and conflict/justice studies.

Innerhalb der Erzählforschung nimmt die Thematik des unzuverlässigen Erzählens eine zentrale Rolle ein. Doch wann genau wird eigentlich «unzuverlässig» erzählt? Ausgehend von der Frühen Neuzeit über die europäische Aufklärung zur modernen und postmodernen Literatur umfassen die Beiträge dieses Sammelbands in breit angelegter diachroner Perspektive eine große historische Zeitspanne unzuverlässigen Erzählens und decken dabei zugleich ein kulturell breites Spektrum von Spanien und Frankreich über Lateinamerika bis Afrika ab. Dabei setzen sie sich kritisch mit der aktuellen Forschung zu unzuverlässigem Erzählen auseinander, prüfen sie anhand ausgewählter Beispiele aus romanischen Literaturen, die bislang nicht systematisch in der narratologischen Forschung Berücksichtigung gefunden haben und entwickeln innovative Perspektiven, um theoretische Beiträge zu einer historisch und kulturwissenschaftlich informierten «Unzuverlässigkeitsforschung» zu leisten. Die Beiträge dieses Bandes führen somit vor Augen, dass unzuverlässiges Erzählen keineswegs ein Phänomen nur der Postmoderne ist, sondern in Texten älterer Epochen wurzelt und bereits zu Beginn der Neuzeit ausgemacht werden kann.

The novel has often been characterized as the art form without a form. Although there may not be any rules for how to write a novel, as Matthew Clark shows in his new work of practical analysis, a good novel is as carefully formed as a good poem.From Paragraphs to Plots uncovers large compositional features of narrative construction, thereby excavating elements that constitute the architecture of the novel. Clark begins by discussing the segmentation of narratives, from the paragraph level up to the whole novel, with case studies of the composition of Jane Austen's Emma and Virginia Woolf's Mrs. Dalloway. The next chapter explores an important, though often neglected, feature of narrative architecture called ring composition: a particular kind of repetition where the beginning and the end of a text are the same or similar. From there, Clark analyzes in detail two novels, Ford Madox Ford's The Good Soldier and Joseph Heller's Catch-22, identifying the repetitions, inversions, links, and fragmented narrations that comprise each narrative.The book's second half focuses on simple and complex plot forms. Examining iterations of simple forms—plots that begin with a specific initiating event and proceed in an essentially regular chronological progression from beginning to middle to end—Clark outlines several common beginnings (Arrival, Departure, Meeting, Need, Birth, Death) and endings (Departures, Returns, Marriages, Need Satisfied, Death), along with a short account of less common ways to begin a novel. Subsequent discussions examine devices used in complex plot forms, such as Beginning with the Ending, Second Chapter Retrospects, Ghosts from the Past, Multiple Retrospects, One-Day Novels, One-Year Novels, Mirror Plots, Simultaneous Narration, Unnatural Chronology, and Non-Narrative Elements. The final chapter draws together the preceding discussions with a detailed case study of a recent novel, Viet Thanh Nguyen's Pulitzer Prize–winning The Sympathizer.By analyzing common practices of narrative construction, From Paragraphs to Plots identifies sources of beauty and meaning in literature, approaching the aesthetic and the thematic as simultaneous and inextricable.

In Emotional Expressionism: Television Seriality, the Melodramatic Mode, and Socioemotionality, E. Deidre Pribram examines emotions as social relations through the lens of dramatic television serials as contemporary melodrama. She develops the concept of socioemotionality, addressing sociocultural forms of felt experience and exploring the role of emotions in forging narrative worlds. Through detailed analyses of serials like Killing Eve, How to Get Away with Murder, and The Marvelous Mrs. Maisel, Pribram argues that the prominent role emotions play in popular mediated narratives demonstrates the crucial impact of collective emotions—activated through aesthetic attributes—on cultural storytelling. Scholars of television, communication, media, and cultural studies will find this book of particular relevance.

This book explores the notion that the emergent language of contemporary theatre, and more generally of modern culture, has links to much earlier forms of storytelling and an ancient worldview.This volume looks at our diverse and amalgamative theatrical inheritance and discusses various practitioners and companies whose work reflects and recapitulates ideas, approaches, and structures original to theatre's ritual roots. Drawing together a range of topics and examples from the early Middle Ages to the modern day, Chadwick focuses on a theatrical language which includes an emphasis on the psychosomatic, the non-linear, the symbolic, the liminal, the collective, and the sacred.This interdisciplinary work draws on approaches from the fields of anthropology, philosophy, historical and cognitive phenomenology, and neuroscience, making the case for the significance of historically responsive modes in theatre practice and more widely in our society and culture.

This book examines the interrelationships between trauma, time, and narrative in the novel The Journey (1962) by the scholar, novelist, poet, and Holocaust survivor H. G. Adler. Drawing on Paul Ricœur's philosophy of time and studies of time in literature, Julia Menzel analyzes how Adler's novel depicts the experience of time as a dimension of Holocaust victims'trauma. She explores the aesthetic temporality of The Journey and presents a new interpretation of the literary text, which she conceives of as a modern “Zeit-Roman” (time novel). Die Studie untersucht die Wechselbeziehungen zwischen Trauma, Zeit und Erzählung in dem Roman Eine Reise (1962) des Wissenschaftlers, Schriftstellers, Dichters und Holocaust-Überlebenden H. G. Adler. Unter Bezugnahme auf Paul Ricœurs Zeitphilosophie und die literaturwissenschaftliche Zeitforschung analysiert Julia Menzel, wie Adlers Roman traumatische Zeiterfahrungen der Opfer des Holocaust zur Darstellung bringt. Sie erkundet die ästhetische Eigenzeit von Eine Reise und eröffnet eine neue Lesart des literarischen Texts, den sie als modernen Zeit-Roman begreift.

Demonstrating how Chaucer uses the Bible in The Canterbury Tales as an authoritative literary source and model for his own literary production, this book explores the ways in which the Bible was a key tool for Chaucer's self-definition and innovation as an author.Chad Schrock unravels Chaucer's Tales in the light of topics important to biblical reception in 14th-century England: authority, textuality, interpretation, translation, rephrasing and marginalia. When the Canterbury Tales are summed up in this way, they show the great extent to which Chaucer was drawing upon the Bible as a meta-poetical resource for his own poetry – its fictional tale-tellers and characters, its quotations, allusions and images, its plots, its imaginative engagement with an audience of listeners and readers, and its hidden intentions.Schrock demonstrates that the Bible is a uniquely potent literary source for Chaucer because it combines infinite authority and plenitude with unprecedented freedom of interpretive invention. As a world-making text, the Bible's authority includes the literary as subcategory but surpasses and contextualizes it, which gives Chaucer's deferential biblical invention a different kind of freedom and safety. Within Chaucer's tales, a biblical image is often where a given narrative peaks and its plot comes clear, but a biblical world also and without strain contains his biblical fictioneers and whatever they make from the Bible, whether orthodoxy or heresy, whether sin or worship.

A novel is among the most intricate of human creations, the result of thousands of choices and decisions. In How to Reread a Novel, Matthew Clark explicates the intricacies of fiction writing through practical analysis of the resources of narration, demystifying some of the tools novelists use to build worlds.Drawing on classical philology, the rhetorical tradition, and recent approaches to narratology, Clark explores reading fiction as a complex experience of perception, cognition, and emotion, in which the writer of a narrative attempts to create and control the experience of the reader through the deployment of narrative techniques. Texts examined range from the Iliad and the Odyssey to contemporary literature, including detailed discussions of novels by Jane Austen, Charles Dickens, Henry James, and Raymond Chandler, as Clark investigates fundamental methodologies of narrative storytelling and the effects they employ to form beauty and meaning.By exploring some of the central techniques of narrative composition, How to Reread a Novel helps uncover subtleties in a text that may be missed on a first reading, encouraging readers to go beyond the surface to see what creates the unique experience of reading fiction.

Focusing on the growing trend of employing the present tense in storytelling, this book explores present-tense narrative in contemporary fiction. Using a corpus approach, speech, writing, and thought presentation in 21st-century present-tense narrative is compared with 20th-century past-tense narrative. An in-depth comparative analysis reveals previously undiscovered innovative features specific to how character discourse is presented in modern narratives. Notably, narrative tenses have an impact on thought presentation; in present-tense narrative, Free Direct Thought (FDT) emerges as frequently as Free Indirect Thought (FIT), a departure from the dominance of FIT in modern past-tense narrative. This book will be of interest to stylisticians, narratologists, corpus linguists, and those who have found themselves absorbed in a 21st-century work of present-tense fiction.

This volume lays theoretical and methodological groundwork for the analysis of Mesopotamian literature. A comprehensive first chapter by the editors explores critical contemporary issues in Sumerian and Akkadian narrative analysis, and nine case studies written by an international array of scholars test the responsiveness of Sumerian and Akkadian narratives to diverse approaches drawn from literary studies and theories of fiction. Included are intertextual and transtextual analyses, studies of narrative structure and focalization, and treatments of character and characterization. Works considered include the Standard Babylonian Gilgamesh Epic and many other Sumerian and Akkadian narratives of gods, heroes, kings, and monsters.

This book of empirical studies analyzes examples of televisual shared universes since the 1960s to understand how the nature of televised serial narratives and network corporate policies have long created shared storyworlds. While there has been much discussion about shared cinematic universes and comic book universes, the concept has had limited exploration in other media, such as those seen on the smaller screen. By applying convergence culture and other contemporary media studies concepts to television's history, contributors demonstrate the common activities and practices in serial narratives that align older television with contemporary television, simultaneously bridging the gap between old media and new media studies. Scholars of film studies, media studies, and popular culture will find this book of particular interest.

Romantik und Realismus werden in der Literaturgeschichtsschreibung vorwiegend als Gegensätze beschrieben. Ihre Rekonstruktion als dichotome Epochen verstellt aber den Blick auf die Kontinuitäten zwischen den beiden großen Literaturbewegungen des 19. Jahrhunderts, auf ihre gemeinsamen Problemfelder und Strategien zur Problembewältigung. Denn weshalb beziehen sich Texte in der zweiten Hälfte des 19. Jahrhunderts permanent auf eine Literatur, die sie als ›Romantik‹ kennzeichnen und aus der Welt schaffen wollen? Weshalb bearbeiten Texte, die als ›realistische‹ positioniert werden, über einen Zeitraum von immerhin gut 50 Jahren Konzepte und Themenkomplexe, die erkennbar ihren Anfang in der von ihnen abgelehnten und als obsolet konzipierten Romantik nehmen? Weshalb lassen sie fortwährend romantische Figuren auftreten oder romantische Motive handlungsleitend ein? Ganz offenbar handelt es sich beim Romantischen, das der Realismus bestreitet, um einen unerledigten Problemkomplex. Ausgehend vondiesen Beobachtungen stellt sich das Verhältnis von romantischer und realistischer Literatur weniger als epochale Dichotomie, sondern vielmehr als konstitutives Wechselverhältnis dar – als komplementäre Konstellation vor einem gemeinsamen Problemhorizont. Romantische und realistische Literatur lassen sich als alternative und gleichwohl parallele Strategien im Umgang mit historischen Transformationsprozessen auffassen, die ungeachtet ihrer markierten Konkurrenz kaum jemals ungemischt zur Anwendung kommen. Romantische und realistische Tendenzen treten in wechselseitiger Abhängigkeit auf. Dabei geht es sowohl den programmatisch romantisierenden als auch den programmatisch realistischen Texten um nicht weniger als die Gestaltung gesellschaftlicher Realität. Auf der Grundlage einer anderen Begründungsgeschichte der deutschsprachigen Literatur im 19. Jahrhundert lassen sich Beschreibungsmodelle für kulturelle Identifikations- und Transformationsprozesse gewinnen. Die untersuchten literarischen Texte formulieren ebenso Konzepte für den Umgang mit kulturellem Wandel wie sie Konstellationen kulturellen Wandels als Positionskämpfe zwischen romantischen und realistischen Akteuren konfigurieren.

The 21st-century story economy is grounded on the premise that everyone – from individual social media users to political parties and multinational corporations – needs to become storytellers. At the same time, we witness the erosion of borders between fact, fiction, truth and lies within the public sphere. This book by literary researchers helps different audiences understand and analyse the rhetorical uses and potential dangers of narratives and fictionality. The contributors deal with various contemporary storytelling environments, ranging from social and news media to literary autofiction, and from documentary narration to sexual fantasy. Narratives and fictionality are an asset in today's communication environments, but awareness of their rhetorical and ethical pitfalls will make us better readers.

Das Thema der kollektiven Autor:innenschaft, bereits in den 1990er Jahren mit Blick auf die damals neuen technologischen Möglichkeiten breiter diskutiert, scheint aktuell erneut auf ein wachsendes Interesse zu stoßen, etwa unter dem Stichwort der ›Kollaboration‹. Der vorliegende Band fragt nach der Schwellenfunktion der digitalen Wende, die sich in eine Folge von weiteren medialen, epistemischen, ästhetischen und sozialen Schwellen und historisierbaren Konstellationen einreiht, die Konzepte von kollektiver Autorschaft/Autor:innenschaft hervorgebracht und grundsätzlich verändert haben. Die partizipatorische Kultur sowie Verfahren der »produsage«, die sich in den medialen Konvergenzbewegungen der jüngeren Vergangenheit feststellen lassen, haben Zurechnungsstrategien von Autorschaft, an denen lange festgehalten wurde, außer Kurs gebracht. Dazu sind auch die in der Tradition der Avantgarden stehenden Projekte der generativen Codeliteratur zu zählen, die sich von den auf und mittels Plattformen produzierten und distribuierten Texten durch das vorausgesetzte Code-Wissen und den gezielten Gebrauch digitaler Technik unterscheiden lassen. Wurde die automatische Generierung von Text in der Vergangenheit oft als Auslagerung von Autor:innenschaft auf die Maschine konzipiert, rückt hier die Frage nach der »Arbeitsteilung zwischen Mensch und Maschine« in den Vordergrund.

Storytelling as a cultural practice permeates all phases and areas of human life and opens up possible worlds. From their earliest days, children grow into a culture of storytelling, acquire language and literature, develop writing skills, and learn to communicate through storytelling in multimodal ways: orally and in writing, by playing, drawing, designing, singing, dancing and more. Through the process of narrating, experiences are structured, identities are formed, social contexts are shaped, and desires and futures are imagined. Narrative connects different times in history, various disciplinary fields in education and diverse linguistic-cultural spaces, but it also requires time and space itself. Against the background of an educational landscape that is currently competence-oriented, the question arises as to what role the art of storytelling plays in educational contexts, and what possibilities it opens up for learning. This edited volume aims to address this question, theoretically and empirically, from pedagogical and linguistic perspectives.

Juli Zeh verbindet zwei öffentliche Rollen: Sie ist Schriftstellerin und Juristin; sie trägt maßgeblich zur deutschsprachigen Gegenwartsliteratur bei, nimmt aber auch aktiv als ‚public intellectual‘ an öffentlichen Debatten teil. Der vorliegende Band untersucht daher gattungs- und literaturgeschichtliche Themen ebenso wie intertextuelle und theoretische Referenzpunkte, etwa zu Recht und Staat oder aktuellen gesellschaftlichen Aushandlungsprozessen.Juli Zehs Werk, für Bühne und Film adaptiert sowie in zahlreiche Sprachen übersetzt und inzwischen auch Schullektüre, umfasst ein breites Spektrum an Texten: Einige arbeiten mit den Mustern der Spannungsliteratur („Adler und Engel“, „Schilf“), andere lassen sich als dystopische Romane verstehen („Corpus Delicti“, „Leere Herzen“). Jüngst sind mehrere Gesellschaftsstudien zu verzeichnen („Unterleuten“, „Über Menschen“, „Zwischen Welten“). Der Band untersucht dies sowohl in Einzeltextanalysen als auch in systematischen Beiträgen, die Juli Zehs Werke vergleichend sowie im ästhetischen, medialen oder politischen Kontext in den Blick nehmen.

A fresh and original introduction to the Odyssey—and how it continues to shape literature, film, art and even the ways we make sense of our livesReading the Odyssey is an introduction to Homer's masterpiece like no other. It combines a cultural and intellectual history of the epic with an in-depth exploration of its unique and influential narrative structure and the ways it continues to inform issues of identity, meaning and experience.Reading the Odyssey begins with a broad history of the epic's reception and interpretation, its place in cultural and intellectual history and its influence today on literature, film and art. After introducing the literary form of the Odyssey, the book turns to its main focus: the layered narrative that lies at the heart of the poem. Taking readers on a tour of the epic, Jonas Grethlein shows the nuanced ways the Odyssey uses a wide variety of narrative forms and functions. At the same time, he highlights how we all rely on narratives, first used by Homer, to form identities, forge communities and make sense of our lives.The result is a compelling guide to the Odyssey that demonstrates why it continues to speak so powerfully to so many readers today.

This collection offers an in-depth study of music's narrative functions in radio drama, whether original or adapted, alongside speech and sound. It features a range of historical perspectives as well as case studies from Australia, Europe and North America, highlighting broadcasting institutions such as the BBC, RAI, ABC, WDR and SWR, from early radio to the medium's postwar golden age and contemporary productions. Not limited to classical or popular music, the chapters also pay attention to electronic varieties and musical uses of language, in addition to intermedial exchanges with other art forms such as theatre, opera and film. In doing so, the present volume sits at the crossroads of various disciplines: musicology, narratology, history, literary, media, sound and radio studies.

This interdisciplinary and comparative volume offers a systematic approach to the early Greek tale. Bringing similarities and differences between ancient Greek and early Byzantine tales to the fore, this volume thus creates new knowledge in the fields of classics, medieval studies, and literary studies. Its chapters discuss the theory and poetics of tales, the art of storytelling, inherent features of the tale, and the arrangement, types, and characteristics of tales in collections. The chapter authors base their approaches on a rich variety of texts and writers that are here discussed for the first time in one volume. Contributors are: Andria Andreou, Stavroula Constantinou, Julia Doroszewska, Christian Høgel, Markéta Kulhánková, Ingela Nilsson, Nicolò Sassi, and Sophia Xenophontos.

Visual continuity in sequels poses a daunting challenge for filmmakers as they strive to maintain coherence while expanding upon established narratives and visual aesthetics. With cinema's evolution, audiences'expectations have grown more sophisticated, demanding seamless transitions and immersive experiences across film series. However, achieving this continuity requires a delicate balance between honoring the original work and introducing innovative elements to captivate viewers. Addressing this complication is the book, Studies on Cinematography and Narrative in Film: Sequels, Serials, and Trilogies, which emerges with a comprehensive approach. By delving into the interplay between cinematography and narrative structure, this book offers invaluable insights for filmmakers seeking to navigate the complexities of sequel production. Through meticulous analysis of prominent film series and theoretical frameworks, it provides a roadmap for achieving visual coherence while pushing creative boundaries. This book, targeted towards cinema students, academics, and industry professionals, serves as an indispensable resource for understanding and mastering the art of visual storytelling in sequels. Examining case studies, exploring theoretical perspectives, and offering practical insights empower readers to tackle the challenges of visual continuity with confidence and creativity. In an era where sequels abound, Studies on Cinematography and Narrative in Film: Sequels, Serials, and Trilogies is a guiding light, illuminating the path towards compelling and immersive cinematic experiences.

Curated Fiction presents a new theory and methodology for developing, drafting and refining creative writing. At the intersection of literary studies and creative writing, this book develops a new theory for analysing how novelists use narrative point-of-view to direct readers'trust.The book defines the parameters and practice of one possible approach to the creative development of a work of long-form fiction. The value underpinning this approach will be drawn from the theories that inform it, such as Irene Kacandes's work on Talk Fiction, Bakhtinian concepts of polyphony and Gerald Prince's concept of the Disnarrated.Offering critical analyses of existing literary works, such as Waterland and As I Lay Dying, Curated Fiction will afford examination of theory in practice, in differing literary forms and contexts before making practical connections with the craft of writing through the analysis of an original short story,'Foxes'.

Featuring 28 music examples this book takes an innovative approach to analyzing and interpreting nineteenth-century German song, offering new perspectives on Robert Schumann's Lieder and song cycles.Robert Schumann's Lieder are some of the richest and most complex songs in the repertoire and have long raised questions and stimulated discussion among scholars, performers, and listeners. While a wide range of methodologies has been used to understand and interpret his songs, one that has been conspicuously absent is an approach based on narratology (the theory and study of narrative texts).Proceeding from the premise that the performance of a Lied is a narrative act, in which the singer and pianist together function as a narrator, Andrew Weaver's groundbreaking study proposes a comprehensive theory of narratology for the German Romantic Lied and song cycle, using Schumann's complete song oeuvre as the test case. The theory, grounded in the work of narratologist Mieke Bal but also drawing upon recent work in literary theory and musicology, illuminates how music can open up new meanings for the poem, as well as how a narratological analysis of the poem can help us understand the music.Weaver's book offers new insights into Schumann's Lieder and the poetry he set while simultaneously proposing a methodology applicable to the analysis and interpretation of a wide range of works, including not only the rich treasury of German Lieder but also potentially any genre of accompanied song in any language from the Middle Ages to the present day.

How do people narrate events in their life story and in the history of their family or families when making a self-presentation? How are narratives and experiences in the present related to experiences and narratives in the past? This book answers these questions with a theoretical and empirical study of the interconnections between remembering, experiencing, and presenting what was experienced, at different points of the life course and of the associated collective histories. It also discusses rules for conducting interviews that support processes of remembering, and for carrying out an analysis that does justice to this dialectic. The author exploits ideas from phenomenology and Gestalt theory in this book, which has become a classic. Since its first publication in 1995, she has increasingly taken inspiration from the figurational sociology of Norbert Elias. Accordingly, this English edition contains a new introduction and a new chapter on this later expansion of her approach to sociological biographical research.

In A Guide to Post-classical Narration, Eleftheria Thanouli expands and substantially develops the innovative theoretical work of her previous publication, Post-classical Cinema: an International Poetics of Film Narration (2009). A Guide to Post-classical Narration: The Future of Film Storytelling presents a concise and comprehensive overview of the creative norms of the post-classical mode of narration. With dozens of cases studies and hundreds of color stills from films across the globe, this book provides the definitive account of post-classical storytelling and its techniques. After surfacing in auteur films in varied production milieus in the 1990s, the post-classical options continued to gain ground throughout the 2000s and 2010s, gradually fertilizing several mainstream productions in Hollywood. From Lars von Trier's Europa (1991) to Zack Snyder's Army of the Dead (2021) and Baz Luhrmann's Elvis (2022), the post-classical narration has shown not only impressive resilience but also tremendous creativity in transforming its key formal principles, such as fragmented and multi-thread plotlines, hypermediated realism, parody, graphic frame construction, complex chronology, and intense self-consciousness. Through the meticulous textual analysis of the post-classical works, Eleftheria Thanouli addresses head-on a series of methodological questions in narrative research and brings the tradition of historical poetics back into the limelight. By reinforcing her previous work with numerous new films as well as more nuanced narrative terms and concepts, she not only strengthens her position on post-classical cinema but also establishes the relevance of formalist analysis in the study of film today.

There has been a steady stream of articles written on the relations between ethics and the interpretation of literature, but there remains a need for a book that both introduces and significantly contributes to the field – particularly one that shows how we can think more openly and creatively about the multiform powers of ethical narrative by considering ethically significant literature. This volume offers an analytically acute and culturally rich way of understanding how it is that we can productively think philosophically about the narrative structures that describe our ethical lives and what kind of distinctive conceptual, and in some cases personal, progress we can make by doing so. Given the extremely widespread interest in ethical issues, this volume will strike resonant chords far and wide on arrival, while offering something new in bringing together the study of long-form narrative, the language of moral psychology, and detailed literary case studies. Given the vast expansion of narrative studies in recent years, the time for just such a volume is right.

This book considers the rhetorical strategies used by celebrities and their surrogates and attorneys when faced with claims of sexual misconduct.During the past five years, a series of public figures has claimed that their celebrity persona is distinct from their “real” self as a way of eluding allegations of sexual misconduct in the courthouse and in the court of public opinion. This book examines three case studies in which such claims were employed, namely Terry Bollea/Hulk Hogan, President Donald Trump/Reality Show Host Donald Trump, and R. Kelly/Robert Kelly, to assess the mediated and legal communicative strategies used and their potential implications. Using a technique which the author calls “discursive self-cleaving,” these stars strategically craft statements on social media, in the press, and in the courtroom to create a discourse that works to shift blame away from their behavior. The book also traces the relationship between these discursive approaches and the politics of sexual violence and domestic abuse during the early months of the #MeToo movement and beyond.Providing a richly detailed analysis of how this discourse functions and why jurors and members of the public find it convincing, this book will be of interest to students and scholars in the field of communication studies, rhetoric, media, law, and popular culture studies.

This book investigates issues of identity and narrativity in late Byzantine romances in a Mediterranean context, covering the chronological span from the capture of Constantinople by the Crusaders in 1204 to the 16th century. It includes chapters not only on romances that were written and read in the broader Byzantine world but also on literary texts from regions around the Mediterranean Sea.The volume offers new insights and covers a variety of interrelated subjects concerning the narrative representations of self-identities, gender, and communities, the perception of political and cultural otherness, and the interaction of space and time with identity formation. The chapters focus on texts from the Byzantine, western European, and Ottoman worlds, thus promoting a cross-cultural approach that highlights the role of the Mediterranean as a shared environment that facilitated communications, cultural interaction, and the trading and reconfiguration of identities.The volume will appeal to a wide audience of researchers and students alike, specializing in or simply interested in cultural studies, Byzantine, western medieval, and Ottoman history and literature.

Bringing together the expertise of world-leading screenwriters and scholars, this book offers a comprehensive overview of how screen narratives work. Exploring a variety of mediums including feature films, television, animation, and video games, the volume provides a contextual overview of the form and applies this to the practice of screenwriting. Featuring over 20 contributions, the volume surveys the art of screen narrative, and allows students and screenwriters to draw on crucial insights to further improve their screenwriting craft. Editors Paul Taberham and Catalina Iricinschi have curated a volume that spans a range of disciplines including screenwriting, film theory, philosophy and psychology with experience and expertise in storytelling, modern blockbusters, puzzle films and art cinema. Screenwriters interviewed include: Josh Weinstein (The Simpsons, Gravity Falls), David Greenberg (Stomping Ground, Used to Love Her), Evan Skolnick and Ioana Uricaru. Ideal for students of Screenwriting and Screen Narrative as well as aspiring screenwriters wanting to provide theoretical context to their craft.

This book offers a multidisciplinary approach to locative media, concentrating on specific authors and practitioners whose works exist in print and digital manifestations. The book shapes the discourse for an extensive theorization of locative media works from a narrative perspective. It investigates how different genres ⸺ print novels, fictional and non-fictional locative narratives, locative games, and audio texts ⸺ are affected by locative media practice. Part I examines print manifestations of locative media in William Gibson's fiction. Part II discusses e-book and audio book locative narrative experimentations, suggesting ways to create and categorize locative texts. Drawing on hypertext theory, Part III views Niantic locative games as an instantiation of locative media storytelling practice that challenges digital narrativity. This study captures a transition from a print-based textuality to a digital locative textuality and culture, and proposes flexible innovative models of interpreting narrative textual forms emerging from the convergence of locative and narrative media. ​

The collection of articles compiled in this volume ponder narratological aspects, elements, and features and examine the extent to which the coinage''post-narratology''is applicable in contemporary literature, cultural studies, translation, etc. The contributors'rethinking of narratology in relation to ethnicity, culture, history, and religion lead to significant implications as far as adherence to or departure from Western classical narratology is concerne.

A penetrating analysis of weaponized information–one of the most pressing dangers to open societiesNow more than ever, communities across the world are integrated into a complex, global information ecosystem that shapes the nature of social, political, and economic life. The ripple effects of actors trying to manipulate or disrupt this information ecosystem are far more severe than the primary effects that are merely being felt in the information space. In fact, the weaponization of narratives has already shown its potential to transform the character of conflict in the twenty-first century.Subversion examines how malicious state and nonstate actors take advantage of the information space to sow political chaos. Andreas Krieg reveals how the coordinated use of weaponized narratives can achieve strategic-level effects through a six-stage process. Preying on vulnerable states and communities to find the fault lines within societies, these campaigns begin in the information space with an ultimate goal of producing tangible results (such as changes to policy or voting behavior, or spurring political violence). Krieg closely examines recent subversion campaigns by two states in particular, focusing on Russia's interference in Western public discourse and the United Arab Emirates's demonization of the Muslim Brotherhood as a terrorist organization. Subversion will provide scholars and policymakers with a comprehensive understanding of one of the most urgent threats in international politics along with recommendations on how vulnerable communities can become more resilient.

This study investigates the role of embedded narratives in Silius Italicus'Punica, an epic from the late first century AD on the Second Punic War (218–202 BC). At first sight, these narratives seem to be loosely ‘embedded'in the epic, having their own plot and being situated in a different time or place than the main narrative. A closer look reveals, however, that they foreshadow or recall elements that are found elsewhere in the epic. In this way, they serve as ‘mirrors'of the main narrative. The larger part of this book consists of four detailed case studies.

Train Travel as Embodied Space-Time in Narrative Theory argues that the train is a loaded trope for reconfiguring narrative theories past their “spatial turn.” Atsuko Sakaki's method exploits intensive and rigorous close reading of literary and cinematic narratives on one hand, and on the other hand interdisciplinary perspectives that draw out larger connections to narrative theory. The book utilizes not only narratological frameworks but also concepts of space-focused humanity oriented social sciences, such as human geography, mobility studies, tourism studies, and qualitative/experience-based ethnography, in their post “narrative turn.” On this interface of narrative studies and spatial studies, this book pays concerted attention to the formation of affordances, or relations in which the human subject uses a space-time and things in it, in terms of passenger experience of the train carriage and its extension. Affiliation: Atsuko Sakaki, University of Toronto, Toronto, Canada.

Narrative sind immer schon Grundbestand der menschlichen, kulturellen, sozialen und gesellschaftlichen Verständigungshorizonte. Der Band Erzählhorizonte widmet sich der Auseinandersetzung mit möglichen Formen einer narrativen Ethik, indem aus inter- und transdisziplinärer Sicht dem menschlichen und lebensweltlichen Grundphänomen der Narrativität nachgespürt wird. In Diskursen, die Digitalisierung, Technik, Medizin, Politik, Medientheorie, Anthropologie, Geistesgeschichte, Literaturwissenschaft und auch Theologie umfassen, wird kritisch sowie innovativ und im Gegenwarts- und Zukunftsbezug Narrativität in ihrer tiefen ethischen Dimension beleuchtet.

Fictionality and Multimodal Narratives interrogates the multimodal relationship between fictionality and factuality. The contemporary discussion about fictionality coincides with an increase in anxiety regarding the categories of fact and fiction in popular culture and global media. Today's media-saturated historical moment and political climate give a sense of urgency to the concept of fictionality, distinct from fiction, specifically in relation to modes and media of discourse. Torsa Ghosal and Alison Gibbons explicitly interrogate the relationship of fictionality with multimodal strategies of narrative construction in the present media ecology. Contributors consider the ways narrative structures, their reception, and their theoretical frameworks in narratology are influenced and changed by media composition—particularly new media. By accounting for the relationship of multimodal composition with the ontological complexity of narrative worlds, Fictionality and Multimodal Narratives fills a critical gap in contemporary narratology—the discipline that has, to date, contributed most to the conceptualization of fictionality.