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Journal articles on the topic 'Fictional Narratives'
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Bareis, J. Alexander. "The Implied Fictional Narrator." Journal of Literary Theory 14, no. 1 (March 1, 2020): 120–38. http://dx.doi.org/10.1515/jlt-2020-0007.
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AbstractThe role of the narrator in fiction has recently received renewed interest from scholars in philosophical aesthetics and narratology. Many of the contributions criticise how the term is used – both outside of narrative literature as well as within the field of fictional narrative literature. The central part of the attacks has been the ubiquity of fictional narrators, see e. g. Kania (2005), and pan-narrator theories have been dismissed, e. g. by Köppe and Stühring (2011). Yet, the fictional narrator has been a decisive tool within literary narratology for many years, in particular during the heyday of classical literary narratology. For scholars like Genette (1988) and Cohn (1999), the category of the fictional narrator was at the centre of theoretical debates about the demarcation of fiction and non-fiction. Arguably, theorising about the fictional narrator necessitates theorising about fiction in general. From this, it follows that any account on which the fictional narrator is built ideally would be a theory of fiction compatible with all types of fictional narrative media – not just narrative fiction like novels and short stories.In this vein, this paper applies a transmedial approach to the question of fictional narrators in different media based on the transmedial theory of fiction in terms of make-believe by Kendall Walton (1990). Although the article shares roughly the same theoretical point of departure as Köppe and Stühring, that is, an analytical-philosophical theory of fiction as make-believe, it offers a diametrically different solution. Building on the distinction between direct and indirect fictional truths as developed by Kendall Walton in his seminal theory of fiction as make-believe (1990), this paper proposes the fictional presence of a narrator in all fictional narratives. Importantly, ›presence‹ in terms of being part of a work of fiction needs to be understood as exactly that: fictional presence, meaning that the question of what counts as a fictional truth is of great importance. Here, the distinction between direct and indirect fictional truths is crucial since not every fictional narrative – not even every literary fictional narrative – makes it directly fictionally true that it is narrated. To exemplify: not every novel begins with words like »Call me Ishmael«, i. e., stating direct fictional truths about its narrator. Indirect, implied fictional truths can also be part of the generation of the fictional truth of a fictional narrator. Therefore, the paper argues that every fictional narrative makes it (at least indirectly) fictionally true that it is narrated.More specifically, the argument is made that any theory of fictional narrative that accepts fictional narrators in some cases (as e. g. suggested by proponents of the so-called optional narrator theory, such as Currie [2010]), has to accept fictional narrators in all cases of fictional narratives. The only other option is to remove the category of fictional narrators altogether. Since the category of the fictional narrator has proved to be extremely useful in the history of narratology, such removal would be unfortunate, however. Instead, a solution is suggested that emphasizes the active role of recipients in the generation of fictional truths, and in particular in the generation of implied fictional truths.Once the narratological category of the fictional narrator is understood in terms of fictional truth, the methodological consequences can be fully grasped: without the generation of fictional truths in a game of make-believe, there are no fictional narratives – and no fictional narrators. The fictionality of narratives depends entirely on the fact that they are used as props in a game of make-believe. If they are not used in this manner, they are nothing but black dots on paper, the oxidation of silver through light, or any other technical description of artefacts containing representations. Fictional narrators are always based on fictional truths, they are the result of a game of make-believe, and hence the only evidence for a fictional narrator is always merely fictional. If it is impossible to imagine that the fictional work is narrated, then the work is not a narrative.In the first part of the paper, common arguments for and against the fictional narrator are discussed, such as the analytical, realist, transmedial, and the so-called evidence argument; in addition, unreliable narration in fictional film will be an important part in the defence of the ubiquitous fictional narrator in fictional narrative. If the category of unreliable narration relies on the interplay of both author, narration, and reader, the question of unreliable narration within narrative fiction that is not traditionally verbal, such as fiction films, becomes highly problematic. Based on Walton’s theory of make-believe, part two of the paper presents a number of reasons why at least implied fictional narrators are necessary for the definition of fictional narrative in different media and discusses the methodological consequences of this theoretical choice.
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Matravers, Derek. "Non-Fictions and Narrative Truths." Croatian journal of philosophy 22, no. 65 (September 15, 2022): 145–60. http://dx.doi.org/10.52685/cjp.22.65.1.
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This paper starts from the fact that the study of narrative in contemporary Anglo-American philosophy is almost exclusively the study of fictional narrative. It returns to an earlier debate in which Hayden White argued that “historiography is a form of fiction-making.” Although White’s claims are hyperbolical, the paper argues that he was correct to stress the importance of the claim that fiction and non-fiction use “the same techniques and strategies.” A distinction is drawn between properties of narratives that are simply properties of narratives and properties of narratives that play a role in forming readers’ beliefs about the world. Using this distinction, it is shown that it is an important feature of non-fictions that they are narratives; it is salutary to recognise non-fictions as being more like fictions than they are like the events they represent.
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Allen, Marybeth S., Marilyn K. Kertoy, John C. Sherblom, and John M. Pettit. "Children's narrative productions: A comparison of personal event and fictional stories." Applied Psycholinguistics 15, no. 2 (April 1994): 149–76. http://dx.doi.org/10.1017/s0142716400005300.
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ABSTRACTPersonal event narratives and fictional stories are narrative genres which emerge early and undergo further development throughout the preschool and early elementary school years. This study compares personal event and fictional narratives across two language-ability groups using episodic analysis. Thirty-six normal children (aged 4 to 8 years) were divided into high and low language-ability groups using Developmental Sentence Scoring (DSS). Three fictional stories and three personal event narratives were gathered from each subject and were scored for length in communication units, total types of structures found within the narrative, and structure of the whole narrative. Narrative genre differences significantly influenced narrative structure for both language-ability groups and narrative length for the high language-ability group. Personal events were told with more reactive sequences and complete episodes than fictional stories, while fictional stories were told with more action sequences and multiple-episode structures. Compared to the episodic story structure of fictional stories, where a prototypical ‘good” story is a multiple-episode structure, a reactive sequence and/or a single complete episode structure may be an alternate, involving mature narrative forms for relating personal events. These findings suggest that narrative structures for personal event narratives and fictional stories may follow different developmental paths. Finally, differences in productive language abilities contributed to the distinctions in narrative structure between fictional stories and personal event narratives. As compared to children in the low group, children in the high group told narratives with greater numbers of complete and multiple episodes, and their fictional stories were longer than their personal event narratives.
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SHIRO, MARTHA. "Genre and evaluation in narrative development." Journal of Child Language 30, no. 1 (February 2003): 165–95. http://dx.doi.org/10.1017/s0305000902005500.
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In this study I examine Venezuelan children's developing abilities to use evaluative language in fictional and personal narratives. The questions addressed are: (1) How does the use of evaluative language vary in fictional and personal narratives? (2) Is there a relationship between the use of evaluative language in these two narrative genres and children's age and socio-economic status (SES)? The sample consists of 444 narratives produced by 113 Venezuelan school-age children participating in 4 narrative tasks, in which personal and fictional stories were elicited. Findings suggest that age and socio-economic status have a greater impact on the use of evaluation in fictional stories than in personal narratives. Low SES and younger children are at a greater disadvantage when performing fictional narratives than when performing personal narratives. These results strongly imply that children's narrative competence cannot be assessed in a single story-telling task, given the importance that task-related factors seem to have on narrative abilities.
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Grishakova, Marina, Remo Gramigna, and Siim Sorokin. "Imaginary scenarios: On the use and misuse of fiction." Frontiers of Narrative Studies 5, no. 1 (July 2, 2019): 112–29. http://dx.doi.org/10.1515/fns-2019-0008.
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AbstractThis paper argues that the examination of representational (formal) and semantic (referential) features of fictional and factual narratives would be incomplete without discussing specific pragmatic (communicative, performative, heuristic, and cognitive) functions of fiction – how and why “fictions” are used in literature and arts, but also in scientific, philosophical, and everyday discourses. On the one hand, the pragmatic approach blurs the fictional/ factual divide and identifies similarities in the use of fiction across disciplinary borders. On the other, as we argue, to avoid panfictionalism inherent in Vaihinger’s philosophy of “as if” the pragmatic act of boundary-crossing should be accompanied by mapping out new “cross-territorial” forms and distinctions. The paper revises and recasts the “cross-territorial” concept of scenario as a narrative structure and a type of fictional modeling and explores its semantic and pragmatic features.
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ODARTEY–WELLINGTON, DOROTHY. "Fictional and Street Narratives." Matatu 47, no. 1 (August 22, 2016): 153–74. http://dx.doi.org/10.1163/18757421-90000400.
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Contemporary African fiction is a source of dystopian urban images juxtaposed with the kinds of ‘good cities’ to which the wielders of political or economic power subscribe. This article examines the dominant representations of the ‘good city’ and how they are contested or subverted from various narrative perspectives. It focuses on inscriptions of the city in fictional narratives and on inscriptions such as street signs and place names found in cities in order to explore the tensions and the contradictions in images of urban experience in Africa.
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Panto, Francesco, Tamaki Saito, Nobuaki Morita, and Yasukazu Ogai. "The Correlation between Enjoying Fictional Narratives and Empathy in Japanese Hikikomori." F1000Research 10 (August 9, 2021): 776. http://dx.doi.org/10.12688/f1000research.55398.1.
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Background: Hikikomori is a Japanese social withdrawal phenomenon which, in recent years, is spreading in western developed countries as well. Spending a lot of time secluded indoors, watching and playing with fictional narratives may be relatively common for Hikikomori people and may represent a protective factor for their psychological well-being. Method: We evaluated the role of enjoying fictional narratives on empathy, relaxation, depression, and anxiety in people with Hikikomori experience, in relation to their daily consumption of fictional narratives and their emotional transportation toward fictional narratives. Hikikomori from one psychiatric clinic and three different support facilities were enrolled in this study. Multidimensional empathy scale, CES-D, STAI questionnaire, and relaxation inventory self-report scale were used as outcome measures. Results: We found a significant correlation between empathy and emotional transportation toward fictional narratives and between relaxation during watching and reading fictional narratives and consumption frequency of fictional narratives. We failed, however, to find any significant correlation with depression and anxiety. Conclusions: These findings suggest a possible correlation between fiction and empathy/relaxation response; however, any causal relationship is not proven, consequently we deem that further investigations with a larger sample size are required for a better understanding.
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Panto, Francesco, Tamaki Saito, Nobuaki Morita, and Yasukazu Ogai. "The Correlation between Enjoying Fictional Narratives and Empathy in Japanese Hikikomori." F1000Research 10 (January 21, 2022): 776. http://dx.doi.org/10.12688/f1000research.55398.2.
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Background: Hikikomori is a Japanese social withdrawal phenomenon which, in recent years, is spreading in western developed countries as well. Spending a lot of time secluded indoors, watching and playing with fictional narratives may be relatively common for Hikikomori people and may represent a protective factor for their psychological well-being. Method: We evaluated the role of enjoying fictional narratives on empathy, relaxation, depression, and anxiety in people with Hikikomori experience, in relation to their daily consumption of fictional narratives and their emotional transportation toward fictional narratives. Hikikomori from one psychiatric clinic and three different support facilities were enrolled in this study. Multidimensional empathy scale, CES-D, STAI questionnaire, and relaxation inventory self-report scale were used as outcome measures. Results: We found a significant correlation between empathy and emotional transportation toward fictional narratives and between relaxation during watching and reading fictional narratives and consumption frequency of fictional narratives. We failed, however, to find any significant correlation with depression and anxiety. Conclusions: These findings suggest a possible correlation between fiction and empathy/relaxation response; however, any causal relationship is not proven, consequently we deem that further investigations with a larger sample size are required for a better understanding.
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Folde, Christian. "Non-Fictional Narrators in Fictional Narratives." British Journal of Aesthetics 57, no. 4 (October 2017): 389–405. http://dx.doi.org/10.1093/aesthj/ayx026.
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Rollins, Pamela. "Personal Narratives in Individuals with High-Functioning ASD: A Lens Into Social Skills." Perspectives on Language Learning and Education 21, no. 1 (January 2014): 13–20. http://dx.doi.org/10.1044/lle21.1.13.
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Narrative assessment is a valid means for evaluating social pragmatic skills in high-functioning individuals with autism spectrum disorder (ASD). Speech-language pathologists (SLPs) typically analyze fictional narratives because of their strong association with school success. A review of literature suggests that high-functioning individuals with ASD have more difficulties telling personal narratives than fictional narrative. Because problems telling personal narratives may negatively impact social relationships, we suggest evaluating personal narratives to aide intervention planning. We review the elicitation and analysis procedure for personal narratives described in McCabe & Rollins (1994) and make suggestions for intervention.
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Fioretti, Chiara, Debora Pascuzzi, and Andrea Smorti. "Narrative and Narrativization of A Journey: Differences between Personal and Fictional Narratives." Open Psychology Journal 12, no. 1 (November 15, 2019): 205–15. http://dx.doi.org/10.2174/1874350101912010205.
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Background:Scholars depict a deep connection between the way children remember their personal past and imagine the present and the future (Vygotskji, 2004; Brockmeier, 2015). Nevertheless, several studies indicate that children are prone to relate well-formed stories about past personal events but report difficulties in constructing narratives from fictional events. Objective:The present study aims to investigate the differences between school-aged children’s personal and fictional narratives about a journey, considering different types of stories they structured. Methods:220. 8 to 10-year old children randomly divided into three groups, performed a narrative on a journey: 70 narrated a memory on a journey, 92 narrated an ideal trip and 58 narrated a fictional story from a given orientation. The presence and the type of complicating action were assessed to investigate children's ability to present well-structured narratives. Results:The results showed that children were more able to construct stories with complicating action when they narrated personal events and when they were scaffolded by an incipit. Furthermore, in fictional narratives with incipit, children narrated multiple Complicating action creating a continuous violation of canonicity. Conclusions: The authors discuss the results considering the difference between narrative and narrativization of personal and fictional events and the importance of scaffolding children’s narrative skills.
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Favot, Kate, Mark Carter, and Jennifer Stephenson. "Brief Report: A Pilot Study Into the Efficacy of a Brief Intervention to Teach Original Fictional Narratives to a Child With ASD and Language Disorder." Australasian Journal of Special and Inclusive Education 43, no. 2 (July 30, 2019): 102–8. http://dx.doi.org/10.1017/jsi.2019.7.
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AbstractThe ability to generate narratives is important for literacy development. Children with autism spectrum disorder (ASD) have been found to generate less complex narratives than typically developing peers. This pilot AB study was designed to investigate the efficacy of a brief intervention procedure to develop the macrostructure of original fictional narratives based on a realistic scenario in one child, aged 9 years 8 months, with autism spectrum disorder and language disorder. The intervention targeted the characters, setting, problem, feelings, and fix of fictional narrative. Intervention involved the use of macrostructure icons, pictures to support the generation of narratives, clinician modelling, and the participant telling the entire narrative each session. The participant received 12 training sessions of 4–6 minutes each and the intervention was effective. Areas for future research include implementation of a stronger research design and investigation of generalisation to fantasy-based fictional narratives.
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Ikeo, Reiko. "‘Colloquialization’ in fiction: A corpus-driven analysis of present-tense fiction." Language and Literature: International Journal of Stylistics 28, no. 3 (August 2019): 280–304. http://dx.doi.org/10.1177/0963947019868894.
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Over the past decade, more and more writers have used the present tense as the primary tense for their fictional narratives. This article shows that contemporary present-tense fiction has more lexical and syntactic characteristics which are similar to spoken discourse than past-tense fiction by comparing lexis and structures in two corpora: a corpus consisting of present-tense narratives and a corpus of past-tense narratives. It also discusses how the use of the present tense affects the management of viewpoint in narrative by relating its lexical, structural characteristics to the presentation of characters’ speech and thoughts.
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Mills, Monique T., Ruth V. Watkins, and Julie A. Washington. "Structural and Dialectal Characteristics of the Fictional and Personal Narratives of School-Age African American Children." Language, Speech, and Hearing Services in Schools 44, no. 2 (April 2013): 211–23. http://dx.doi.org/10.1044/0161-1461(2012/12-0021).
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Purpose To report preliminary comparisons of developing structural and dialectal characteristics associated with fictional and personal narratives in school-age African American children. Method Forty-three children, Grades 2–5, generated a fictional narrative and a personal narrative in response to a wordless-book elicitation task and a story-prompt task, respectively. Narratives produced in these 2 contexts were characterized for macrostructure, microstructure, and dialect density. Differences across narrative type and grade level were examined. Results Statistically significant differences between the 2 types of narratives were found for both macrostructure and microstructure but not for dialect density. There were no grade-related differences in macrostructure, microstructure, or dialect density. Conclusion The results demonstrate the complementary role of fictional and personal narratives for describing young children's narrative skills. Use of both types of narrative tasks and descriptions of both macrostructure and microstructure may be particularly useful for characterizing the narrative abilities of young school-age African American children, for whom culture-fair methods are scarce. Further study of additional dialect groups is warranted.
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PLUMER, GILBERT. "The Transcendental Argument of the Novel." Journal of the American Philosophical Association 3, no. 2 (2017): 148–67. http://dx.doi.org/10.1017/apa.2017.16.
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ABSTRACT:Can fictional narration yield knowledge in a way that depends crucially on its being fictional? This is the hard question of literary cognitivism. It is unexceptional that knowledge can be gained from fictional literature in ways that are not dependent on its fictionality (e.g., the science in science fiction). Sometimes fictional narratives are taken to exhibit the structure of suppositional argument, sometimes analogical argument. Of course, neither structure is unique to narratives. The thesis of literary cognitivism would be supported if some novels exhibit a cogent and special argument structure restricted to fictional narratives. I contend that this is the case for a kind of transcendental argument. The reason is the inclusion and pattern of occurrence of the predicate ‘believable’ in the schema. Believability with respect to fictional stories is quite a different thing than it is with respect to nonfictional stories or anything else.
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Mozetič, Uroš. "Narrative Perspective and Focalisation in Translating Fictional Narratives." ELOPE: English Language Overseas Perspectives and Enquiries 1, no. 1-2 (December 31, 2004): 209–23. http://dx.doi.org/10.4312/elope.1.1-2.209-223.
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The main objective of this paper is to present the complex processes of the shifting of narrative perspective (point-of-view) and focus in translating English prose texts into Slovene. For that purpose, a narratological discourse analysis of James Joyce’s story ‘Eveline’ (Dubliners) is introduced, drawing on K. M. van Leuven-Zwart’s comparative and descriptive model. The model, which has been expanded by three additional categories – narrative mode, narrative perspective, and focalisation –, brings to the forefront the cause-and-effect relationship between the micro- and macrostructural shifts on the one hand, and the shifts in narrative perspective and focalisation on the other. The results obtained show that the model is empirically verifiable and repeatable. This means that it can also be used with other integral translations, particularly if translation shifts are subtle enough and/or consistent with the translator’s dominant strategy and norm.
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Carroll, Joseph. "Minds and Meaning in Fictional Narratives: An Evolutionary Perspective." Review of General Psychology 22, no. 2 (June 2018): 135–46. http://dx.doi.org/10.1037/gpr0000104.
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This article presents a theoretical framework for an evolutionary understanding of minds and meaning in fictional narratives. The article aims to demonstrate that meaning in fiction can be incorporated in an explanatory network that includes the whole scope of human behavior. In both reality and fiction, meaning consists of experiences in individual minds: sensations, emotions, perceptions, and thoughts. Writing and reading fiction involve 3 sets of minds, those of authors, readers, and characters. Meaning in the minds of authors and readers emerges in relation to the experiences of fictional characters. Characters engage in motivated actions. To understand minds and meaning in fiction, researchers need analytic categories for human motives. A comprehensive model of human motives can be constructed by integrating ideas from evolutionary biology, anthropology, and psychology. Motives combine in different ways to produce different cultures and different individual identities, which influence experience in individual minds. The mental experiences produced in authors and readers by fictional narratives have adaptive psychological functions. By encompassing the minds of authors, characters, and readers within a comprehensive model of human motives, this article situates the psychology of fiction within the larger research program of the evolutionary social sciences.
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Schlusemann, Rita, and Krystyna Wierzbicka-Trwoga. "Narrative Fiction in Early Modern Europe." Quaerendo 51, no. 1-2 (May 7, 2021): 160–88. http://dx.doi.org/10.1163/15700690-12341486.
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Abstract The article presents a corpus of European fictional narratives, which were continuously printed in at least six European languages from the beginning of printing until the end of the eighteenth century. It analyses the denominations of the works in European literary histories in a comparative way in order to show the impact of the different national traditions in literary history, and provides a survey of the contemporary terms for the works used in European vernaculars. In early modern Europe there was an awareness of the congruence of these narratives and a similar choice of genre attributions in different European vernaculars whereas, as a consequence of the development of nationalism and national studies, the denomination of the genre and their studies has become much more tattered. We therefore propose to use the term ‘narrative fiction’ for the genre and the term ‘fictional narrative’ for the works themselves.
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Repp. "Justification from Fictional Narratives." Journal of Aesthetic Education 48, no. 1 (2014): 25. http://dx.doi.org/10.5406/jaesteduc.48.1.0025.
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Belsey, Catherine. "Narrative magic: Stories and the ways of desire." Language and Literature: International Journal of Stylistics 23, no. 1 (February 2014): 77–88. http://dx.doi.org/10.1177/0963947013510645.
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Fictions that include an account of how stories are received show narrative as enlisting the desire of the reader or hearer. While fiction demonstrates what the magic of the signifier can do to allay desire when language is set free from reality, in the end narratives withhold satisfaction of the desire they engender, since the worlds they create must eventually be relinquished. To that degree, narrative fiction brings to light the condition of the speaking being as Lacanian psychoanalysis conceives it, at once empowered and deprived by access to language, and in quest of a presence language cannot deliver. In so far as they are ungrounded, stories are able to exceed cultural orthodoxies, conjuring into being desired possibilities, aspirations, and corollary fears. Supplementary in that sense and dangerous, in consequence, to the orthodoxies they supplement, fictional narratives can therefore bring to light the inadequacy of customary assumptions. Located in time, stories offer a knowledge – of cultural difference, as well as of the laws of desire that underlie it.
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Mills, Monique T., Leslie C. Moore, Rong Chang, Somin Kim, and Bethany Frick. "Perceptions of Black Children's Narrative Language: A Mixed-Methods Study." Language, Speech, and Hearing Services in Schools 52, no. 1 (January 18, 2021): 84–99. http://dx.doi.org/10.1044/2020_lshss-20-00014.
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Purpose In this mixed-methods study, we address two aims. First, we examine the impact of language variation on the ratings of children's narrative language. Second, we identify participants' ideologies related to narrative language and language variation. Method Forty adults listened to and rated six Black second-grade children on the quality of 12 narratives (six fictional, six personal). Adults then completed a quantitative survey and participated in a qualitative interview. Results Findings indicated that adults rated students with less variation from mainstream American English (MAE) more highly than students with greater variation from MAE for fictional narratives, but not for personal narratives. Personal narratives tended to be evaluated more favorably by parents than teachers. Black raters tended to assign higher ratings of narrative quality than did White raters. Thematic analysis and conversation analysis of qualitative interviews supported quantitative findings and provided pertinent information about participants' beliefs. Conclusion Taken together, quantitative and qualitative results point to a shared language ideology among adult raters of variation from MAE being more acceptable in informal contexts, such as telling a story of personal experience, and less acceptable in more formal contexts, such as narrating a fictional story prompted by a picture sequence.
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Fujiwara, Yo. "NARRATEURS ET ENTENDEURS DANS LES ŒUVRES ROMANESQUES ET THÉÂTRALES DE SAMUEL BECKETT." Samuel Beckett Today / Aujourd'hui 19, no. 1 (August 1, 2008): 133–41. http://dx.doi.org/10.1163/18757405-019001011.
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A character who tells or listens to a story is one of the most frequently encountered figures in Beckett's texts. But at the same time, even as they appear totally immersed in their narratives, the fictional narrators feel out of sync with their own narrations. Why go on telling and listening? What is the relation between a personage and his or her narrative? In this article I examine two series of texts in order to address these questions: the fictional works of the forties and the theatrical works of the seventies and eighties.
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Jones, Calvert W., and Celia Paris. "It’s the End of the World and They Know It: How Dystopian Fiction Shapes Political Attitudes." Perspectives on Politics 16, no. 4 (November 23, 2018): 969–89. http://dx.doi.org/10.1017/s1537592718002153.
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Given that the fictional narratives found in novels, movies, and television shows enjoy wide public consumption, memorably convey information, minimize counter-arguing, and often emphasize politically-relevant themes, we argue that greater scholarly attention must be paid to theorizing and measuring how fiction affects political attitudes. We argue for a genre-based approach for studying fiction effects, and apply it to the popular dystopian genre. Results across three experiments are striking: we find consistent evidence that dystopian narratives enhance the willingness to justify radical—especially violent—forms of political action. Yet we find no evidence for the conventional wisdom that they reduce political trust and efficacy, illustrating that fiction’s effects may not be what they seem and underscoring the need for political scientists to take fiction seriously.
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Hachim, Luis, and Pablo Hurtado. "El discurso factual y ficcional en la narrativa colonial hispanoamericana: Naufragios [1542] de Alvar Núñez Cabeza de Vaca e Infortunios de Alonso Ramírez [1690] de Carlos de Sigüenza y Góngora." Catedral Tomada. Revista de crítica literaria latinoamericana 6, no. 10 (July 31, 2018): 172–88. http://dx.doi.org/10.5195/ct/2018.239.
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This paper is based on the assumption that narratives are ongoing experiences, actions and processes that take place during the Colonial period. On these grounds, two narrative texts from the beginnings of the colonial formation period will be discussed. Narratives during this period when a vernacular, creole consciousness was being shaped are coherent with the narrations found in travel journals, relaciones and chronicles. A synthesis of factual and fictional discourses arises in these texts that represent not only the identity transformations of the Indian Spanish individual but also the emerging local, creole subjectivity that defines the new culture and its relations with indigenous world. We suggest a first stage in this cultural synthesis that includes two texts that have not been addressed literary and historiographic studies: Naufragios [1542] by Alvar Núñez Cabeza de Vaca and Infortunios de Alonso Ramírez [1690] by Carlos de Sigüenza. These two founding narratives used a factual discourse that masked the fictional strategies that were later included in the textual practices that characterize the literatures of the Americas.
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Dancygier, Barbara. "Proximal and distal deictics and the construal of narrative time." Cognitive Linguistics 30, no. 2 (May 27, 2019): 399–415. http://dx.doi.org/10.1515/cog-2018-0044.
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AbstractThis paper proposes an approach to narrative deixis which offers a coherent analysis of the respective roles of proximal and distal deictic expressions (demonstratives as well as temporal and locative adverbs). The paper starts by arguing that fictional narratives require an approach to deixis which modifies a number of broadly held assumptions, especially as regards the interaction between tense and other deictic forms. It then considers the widely discussed instance of the temporal adverb now in the context of Past Tense. The second part of the paper gives special focus to demonstratives in narrative fiction, showing their role in temporal construals. It argues that both temporal and demonstrative expressions are primarily used to serve narrative viewpoint construction (which includes but is not limited to temporal viewpoint). Examples from several novels are then used to show how the proximal and distal choices of demonstratives, temporal adverbs and locative adverbs structure narrative viewpoint, including narrative representation of character experience. The paper concludes by proposing that in the context of fictional narratives the proximal/distal contrast is more relevant to meaning emergence than individual aspects of deixis, and that the construal of time can be achieved through the whole spectrum of deictic forms, not just tense and temporal adverbs such as now and then.
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Hermann, Isabella. "Beware of fictional AI narratives." Nature Machine Intelligence 2, no. 11 (October 26, 2020): 654. http://dx.doi.org/10.1038/s42256-020-00256-0.
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Jets, Kairi. "How is Fear Constructed? A Narrative Approach to Social Dread in Literature." Interlitteraria 23, no. 2 (January 3, 2019): 427–41. http://dx.doi.org/10.12697/il.2018.23.2.16.
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Fear-inducing narratives can be divided into two subtypes of horror and dread. While horror stories concentrate on a concrete visible object such as a monster, in dread narratives the object of fear is abstract or absent altogether. Pure forms of either are rare and most narratives mix both types, usually with dominant in one or the other. An interesting subtype of dread narratives is the narrative of social dread, where the fear is social in nature.
One of the few narratologists to study construction of fear in arts, Yvonne Leffler suggests a variety of narrative techniques often used in horror fiction. Adjusting Leffler’s list of techniques for tales of dread instead of horror helps analysing the nature and amount of dread present in a range of different narratives from light reading and literary fiction to non-fiction. A narrative approach helps to reveal how non-fiction texts use similar techniques, and sometimes more extensively than fictional texts. Lionel Shriver’s We Need to Talk About Kevin (2003) is an excellent example of social dread in fiction, where societal failures are a big part of the fears induced, and the questions raised in the narrative are denied definite answers. Kanae Minato’s Confessions (2008) is closer to a thriller, because despite raising issues of societal failure, the work gives conclusive answers to all of the questions raised during the narrative. Although Haruki Murakami’s Underground (1997–98) is a nonfiction compiled from interviews of terror attack survivors, it nevertheless has the hallmarks of a social dread narrative, such as question-answer structure and abstractness of the source of fear. More importantly, Murakami’s work alternates between identifying and anticipatory readings, gives no definitive answers to the questions it poses, and the fear it conveys is social in nature.
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Axelson, Tomas. "Vernacular Meaning Making." Nordicom Review 36, no. 2 (October 1, 2015): 143–56. http://dx.doi.org/10.1515/nor-2015-0022.
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Abstract The outcome of an audience study supports theories stating that stories are a primary means by which we make sense of our experiences over time. Empirical examples of narrative impact are presented in which specific fiction film scenes condense spectators’ lives, identities, and beliefs. One conclusion is that spectators test the emotional realism of the narrative for greater significance, connecting diegetic fiction experiences with their extra-diegetic world in their quest for meaning, self and identity. The ‘banal’ notion of the mediatization of religion theory is questioned as unsatisfactory in the theoretical context of individualized meaning-making processes. As a semantically negatively charged concept, it is problematic when analyzing empirical examples of spectators’ use of fictional narratives, especially when trying to characterize the idiosyncratic and complex interplay between spectators’ fiction emotions and their testing of mediated narratives in an exercise to find moral significance in extra-filmic life. Instead, vernacular meaning-making is proposed.
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Vanoost, Marie. "Another Way to Tell the News, Another Way to Read the News: Immersion and Information in Narrative Journalism." Poetics Today 42, no. 3 (September 1, 2021): 403–23. http://dx.doi.org/10.1215/03335372-9026173.
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Abstract While Paul Ricoeur's Time and Narrative (1990) was only concerned with fictional and historical narratives, its influence on narrative theory has been much broader. Ricoeur's reflections expanded into the field of journalism, among other areas, notably through the notion of media narrative (or récit médiatique) as defined by Marc Lits (1997a). Following Lits, Ricoeur's legacy—and, more specifically, the distinction it inspired between immersive and informative narratives (Baroni 2018)—has been used to shed light on a specific kind of journalism often referred to as narrative journalism, that is, journalism that uses the writing techniques of fiction to tell news stories. This article further examines the dialectic between immersion and information in narrative journalism by exploring both journalists’ goals when writing their texts and receivers’ experiences when reading them. First, interviews with journalists show that they are largely aware of this dialectic and purposefully use an immersive form to help readers better understand information. Then, an exploratory study with readers reveals that they claim to look mostly for information yet seem to favor immersive narratives.
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James, Erin. "Nonhuman Fictional Characters and the Empathy-Altruism Hypothesis." Poetics Today 40, no. 3 (September 1, 2019): 579–96. http://dx.doi.org/10.1215/03335372-7558164.
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Highlighting a trend in current models of narrative empathy that suggests that readers’ ability to empathize with nonhuman characters is dependent wholly on anthropomorphization, this essay explores two narratives that feature chimp characters—Colin McAdam’s A Beautiful Truth and Karen Joy Fowler’s We Are All Completely Beside Ourselves—to consider the challenges that nonhuman characters pose to such models and the empathy-altruism hypothesis. It first considers the cognitive differences between humans and chimps to stress just how difficult it is to represent chimp cognition and emotion in narrative and the resulting challenges that this difficulty poses for models of narrative empathy. It then discusses the mechanisms by which written narratives that refuse to anthropomorphize nonhuman characters, such those by McAdam and Fowler, might inspire a real-world ethics of care among readers for nonhuman subjects. Ultimately, this essay proposes an expansion to current models of narrative empathy by which we recognize the potential of human bridge characters to foster real-world care among readers for nonhuman subjects.
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Kadavan, Abdul Samad. "The Journey to Death: Fictionalizing the Syrian Refugee Crisis in Khaled Hosseini’s Sea Prayer." International Journal of English and Comparative Literary Studies 2, no. 5 (October 14, 2021): 1–11. http://dx.doi.org/10.47631/ijecls.v2i5.283.
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This paper explores the fictional representation of the Syrian refugee crisis in Khaled Hosseini's novel Sea Prayer (2018). The novel is considered a refugee narrative, examining the question of home, displacement, and the fateful journeys of the Syrian refugees. The novel depicts the heart-wrenching experiences of the refugee community in war-torn Syrian city Homs before and after the outbreak of the civil war in the country. Evoking the tragic death of Alan Kurdi, Hosseini vividly illustrates the various dimensions of the Syrian refugee crisis, including the outbreak of the civil war in Syria and the eventual birth of refugees, their homelessness/statelessness, perilous journey to escape the persecution, xenophobic attitudes towards them, and post-war trauma. This paper draws on postcolonial refugee narratives, concept of journeys of non-arrival, memory, and trauma studies to elucidate its argument. The contention here is that the current crisis in Syria is also accounted for by analyzing the fictional refugee narratives. The unspeakable trauma is communicated through fiction, and Hosseini’s novel depicts the dangers engulfed and the hope entrusted in the refugees’ journeys.
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Kadavan, Abdul Samad. "The Journey to Death: Fictionalizing the Syrian Refugee Crisis in Khaled Hosseini’s Sea Prayer." International Journal of English and Comparative Literary Studies 2, no. 5 (October 14, 2021): 1–11. http://dx.doi.org/10.47631/ijecls.v2i5.283.
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This paper explores the fictional representation of the Syrian refugee crisis in Khaled Hosseini's novel Sea Prayer (2018). The novel is considered a refugee narrative, examining the question of home, displacement, and the fateful journeys of the Syrian refugees. The novel depicts the heart-wrenching experiences of the refugee community in war-torn Syrian city Homs before and after the outbreak of the civil war in the country. Evoking the tragic death of Alan Kurdi, Hosseini vividly illustrates the various dimensions of the Syrian refugee crisis, including the outbreak of the civil war in Syria and the eventual birth of refugees, their homelessness/statelessness, perilous journey to escape the persecution, xenophobic attitudes towards them, and post-war trauma. This paper draws on postcolonial refugee narratives, concept of journeys of non-arrival, memory, and trauma studies to elucidate its argument. The contention here is that the current crisis in Syria is also accounted for by analyzing the fictional refugee narratives. The unspeakable trauma is communicated through fiction, and Hosseini’s novel depicts the dangers engulfed and the hope entrusted in the refugees’ journeys.
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Lamarque, Peter. "On the Distance between Literary Narratives and Real-Life Narratives." Royal Institute of Philosophy Supplement 60 (March 2007): 117–32. http://dx.doi.org/10.1017/s1358246100009632.
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It is a truth universally acknowledged that great works of literature have an impact on people's lives. Well known literary characters— Oedipus, Hamlet, Faustus, Don Quixote—acquire iconic or mythic status and their stories, in more or less detail, are revered and recalled often in contexts far beyond the strictly literary. At the level of national literatures, familiar characters and plots are assimilated into a wider cultural consciousness and help define national stereotypes and norms of behaviour. In the English speaking world, Shakespeare's plays or the novels of Jane Austen, the Bronte sisters, Dickens, and Trollope, provide imaginative material that reverberates in people's lives every bit as much as do the great historical figures, like Julius Caesar, Elizabeth I, Horatio Nelson, or Winston Churchill. What is striking is how often fictional characters from the literary tradition—like the well-loved Elizabeth Bennett, Jane Eyre, Oliver Twist, Pip, Tess of the d'Ubervilles—enter readers' lives at a highly personal level. They become, as Martha Nussbaum puts it, our ‘friends’, and for many readers the lives of these characters become closely entwined with their own. Happy and unhappy incidents in the fictional worlds are held up against similar incidents in the real lives of readers and such readers take inspiration from the courage, ingenuity, or good fortune of their fictional heroines and heroes. Nowhere is it more true that life imitates art.
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Lamarque, Peter. "On the Distance between Literary Narratives and Real-Life Narratives." Royal Institute of Philosophy Supplement 60 (May 2007): 117–32. http://dx.doi.org/10.1017/s1358246107000069.
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It is a truth universally acknowledged that great works of literature have an impact on people's lives. Well known literary characters—Oedipus, Hamlet, Faustus, Don Quixote—acquire iconic or mythic status and their stories, in more or less detail, are revered and recalled often in contexts far beyond the strictly literary. At the level of national literatures, familiar characters and plots are assimilated into a wider cultural consciousness and help define national stereotypes and norms of behaviour. In the English speaking world, Shakespeare's plays or the novels of Jane Austen, the Bronte sisters, Dickens, and Trollope, provide imaginative material that reverberates in people's lives every bit as much as do the great historical figures, like Julius Caesar, Elizabeth I, Horatio Nelson, or Winston Churchill. What is striking is how often fictional characters from the literary tradition—like the well-loved Elizabeth Bennett, Jane Eyre, Oliver Twist, Pip, Tess of the d'Ubervilles—enter readers' lives at a highly personal level. They become, as Martha Nussbaum puts it, our ‘friends’, and for many readers the lives of these characters become closely entwined with their own. Happy and unhappy incidents in the fictional worlds are held up against similar incidents in the real lives of readers and such readers take inspiration from the courage, ingenuity, or good fortune of their fictional heroines and heroes. Nowhere is it more true that life imitates art.
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Ng, Kenny K. K. "Theory and Practice of the Long Novel." Prism 17, no. 2 (October 1, 2020): 326–52. http://dx.doi.org/10.1215/25783491-8690412.
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AbstractThis article examines the promises and predicaments of May Fourth writers in their experimental writing of the “long novel” (changpian xiaoshuo 長篇小說) as a Chinese brand of the modern epic. May Fourth intellectuals showed a conscious effort to institute a new brand of fictional genre to enlighten the reading public. Yet their “education of the novel” was far from complete, as New Literature writers found fictional expressions primarily in the form of the short story, with strong undertones of individualism, subjective lyricism, and elitism. By focusing on Mao Dun's 茅盾 (1896–1981) Ziye 子夜 (Midnight; 1933), the article examines his call for the establishment of the long novel and his strenuous efforts to “take over” the modern novel as an ideological form to narrate a teleological progression of history. How do Mao Dun's fictional narratives illuminate the representational problems between fiction, locality, and modernity? For Mao Dun and his May Fourth contemporaries, modernity at large was expressed in a teleological mode of time and progress, both in the rhetoric of modernity and in fiction writing. The article reflects on Mao Dun's creative and ideological impasse by teasing out the narrative loopholes of traditional voices and popular fictional registers in the modern epic.
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Daiute, Colette, Ellie Buteau, and Caren Rawlins. "Social-Relational Wisdom: Developmental Diversity in Children’s Written Narratives About Social Conflict." Narrative Inquiry 11, no. 2 (December 31, 2001): 277–306. http://dx.doi.org/10.1075/ni.11.2.03dai.
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Research has focused on perspective-coordination as a central mechanism and achievement of social development. Theorists have raised questions about whether and how cultural, social, and personal experiences affect such a process. Children from historically discriminated backgrounds, for example, have reasons to be especially knowledgeable about the perspectives of others, but whether and how such knowledge complicates normative developmental patterns requires further inquiry. This paper describes “narrative social wisdom,” extending cognitive-developmental notions of perspective-coordination with a discourse analysis of 224 autobiographical and fictional narratives about social conflict by 56 children identifying as African American (15), Latino (16), and White (25) in 3rd and 5th grades in urban schools. Analyses illustrate social wisdom in children’s context-sensitive representations of conflicts, in particular, via dramatic within- and across-group differences in representations of conflict resolution processes. Notable contrasts include the greater complexity of conflict strategies in autobiographical narratives by African American children compared to relatively elaborated conflict strategies in fictional narratives by White children. These and other results illustrate how children juggle resources from sociocultural histories with requirements of mainstream institutions. Conflict representations in fictional narratives were, moreover, consistent with cognitive developmental theory, but, as predicted, autobiographical narratives captured diversities that alter developmental patterns. We discuss the relevance of these results for theory and practice around social relational development and skills.
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Brisman, Avi. "On Narrative and Green Cultural Criminology." International Journal for Crime, Justice and Social Democracy 6, no. 2 (May 22, 2017): 64–77. http://dx.doi.org/10.5204/ijcjsd.v6i2.347.
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This paper calls for a green cultural criminology that is more attuned to narrative and a narrative criminology that does not limit itself to non-fictional stories of offenders. This paper argues that (1) narratives or stories can reveal how we have instigated or sustained harmful action with respect to the environment and can portray a world suffering from the failure to effect desistance from harmful action; and (2) narratives or stories can, may and possess the potential to shape future action (or can stimulate thought regarding future action) with respect to the natural world, its ecosystems and the biosphere as a whole. A wide range of fictional stories is offered as examples and illustrations, and the benefits of a literary bend to the overall criminological endeavor are considered.
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Laakso, Maria. "The paradox of imagining the post-human world." Narrative Inquiry 29, no. 2 (October 16, 2019): 371–90. http://dx.doi.org/10.1075/ni.19022.laa.
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Abstract Since the beginning of the twenty-first century, works depicting a post-human world have become a popular non-fiction genre. This kind of disanthropy is an extreme form of apocalyptic thinking. In this article, I examine one such disanthropic narrative, Alan Weisman’s bestselling non-fiction book The World Without Us (2007), using the theoretical framework of narrative fictionality studies. The World Without Us falls between the conventional oppositional pairing of factual and fictional narratives. The book bases its rhetoric heavily on scientific facts – or at least on scientific expectations – especially in its use of interviews with scientists. Nevertheless, the core idea of a world without humans is inevitably fictional since the presence of readers makes the book’s premise manifestly counterfactual and paradoxical. In my analysis, I adopt a rhetorical approach to fictionality and factuality to ask how particular techniques and strategies connected to fictionality and factuality are employed in Weisman’s text in order to discuss the anxieties, desires, hopes, and fears of the possibility of human extinction.
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Abreu, Alexandre Veloso de. "Unnatural London: the Metaphor and the Marvelous in China Mieville's Perdido Street Station." Scripta 22, no. 46 (December 21, 2018): 193–202. http://dx.doi.org/10.5752/p.2358-3428.2018v22n46p193-202.
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This paper explores allegorical and unnatural elements in China Miéville’s novel Perdido Street Station, starting with a parallel between the fictional city New Crobuzon and London. Fantasy literature examines human nature by means of myth and archetype and science fiction exploits the same aspects, although emphasizing technological possibilities. Horror is said to explore human nature plunging into our deepest fears. We encounter the three elements profusely in the narrative, making it a dense fictional exercise. In postclassical narratology, unnatural narratives are understood as mimetical exercises questioning verisimilitude in the level of the story and of discourse. When considered unnatural, narratives have a broader scope, sometimes even transcending this mimetical limitation. Fantastical and marvelous elements generally strike us as bizarre and question the standards that govern the real world around us. Although Fantasy worlds do also mirror the world we live in, they allow us the opportunity to confront the model when physically or logically impossible characters or scenes enhance the reader’s imagination. Elements of the fantastic and the marvelous relate to metaphor as a figure of speech and can help us explore characters’ archetypical functions, relating these allegorical symbols to the polis. In Miéville’s narrative, such characters will be paralleled to inhabitants of London in different temporal and spatial contexts, enhancing how the novel metaphorically represents the city as an elaborate narrative strategy.
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Yoon, Hwan-Hee, Hyo Seon Kim, and Jung-Mee Kim. "Fictional Narratives Assessment: Social Validation Study." Communication Sciences & Disorders 24, no. 2 (June 30, 2019): 332–42. http://dx.doi.org/10.12963/csd.19624.
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Appel, Markus. "Fictional Narratives Cultivate Just-World Beliefs." Journal of Communication 58, no. 1 (March 2008): 62–83. http://dx.doi.org/10.1111/j.1460-2466.2007.00374.x.
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Rodríguez-Fidalgo, María Isabel, and Adriana Paíno-Ambrosio. "Use of virtual reality and 360° video as narrative resources in the documentary genre: Towards a new immersive social documentary?" Catalan Journal of Communication & Cultural Studies 12, no. 2 (October 1, 2020): 239–53. http://dx.doi.org/10.1386/cjcs_00030_1.
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Virtual reality and 360° video are some of the latest technological developments within the media and communications industry. These technologies, which are designed to facilitate viewer immersion, are currently being used to create fictional and non-fictional content, thus giving rise to a new audio-visual narrative. On the basis of these premises, this research article analyses how immersive narratives are applied to the social documentary genre in its social dimension. To this end, qualitative content analysis was performed on a sample of 49 immersive documentaries published on the WITHIN platform. This analysis, which was completed with quantitative data, allowed us to confirm that these technologies have enabled the development of immersive narratives, which has given birth to a new type of documentary – the ‘immersive social documentary’.
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J. Corsa, Andrew. "Learning from Fiction to Change our Personal Narratives." Croatian journal of philosophy 21, no. 61 (May 21, 2021): 93–109. http://dx.doi.org/10.52685/cjp.21.1.6.
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Can fictional literature help us lead better lives? This essay argues that some works of literature can help us both change our personal narratives and develop new narratives that will guide our actions, enabling us to better achieve our goals. Works of literature can lead us to consider the hypothesis that we might beneficially change our future-oriented, personal narratives. As a case study, this essay considers Ben Lerner’s novel, 10:04, which focuses on humans’ ability to develop new narratives, and which articulates a narrative that takes into account both everyday life and large-scale issues like the global, environmental crisis.
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Vasiloiu, Dorina-Daniela. "Taking Collaborative Stances to Tell the Story. A Socio-linguistic Approach to Nick Hornby’s A Long Way Down." American, British and Canadian Studies Journal 20, no. 1 (June 1, 2013): 199–213. http://dx.doi.org/10.2478/abcsj-2013-0015.
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Abstract In the present study, I seek to examine narrative in consideration of three of its most important dimensions: the social (others’ narratives), the cognitive (acquisition of knowledge through stories), and the linguistic (acquiring and producing knowledge through language). There is no point of contention that ‘narrative’ is essentially communicative and dependent on a sociolinguistic and cultural context. Yet, with regard to fictional narratives, recent studies on text processing challenge the view of text as communication in its conventional sense. I explore the way(s) in which fictional worlds communicate from the constructivist standpoint and set out to develop the notion of narratorial stance. I then make use of the concept in the close reading section of the paper in order to examine and exemplify the modes in which Hornby’s homodiegetic narrators represent themselves and the others in their ‘turn-at-talk’ or stance-taking acts
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D. Leavitt, Jonathan, Arseny A. Ryazanov, and Nicholas J. S. Christenfeld. "Amazing but true." Scientific Study of Literature 4, no. 2 (December 31, 2014): 196–210. http://dx.doi.org/10.1075/ssol.4.2.04lea.
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People find it important to know if a story is factual, but still the most popular stories, in such forms as books and movies, are fictional. Research suggests that a story being true may add value to the reader’s experience, but other findings suggest that fiction may increase enjoyment by providing fewer disruptions to narrative comprehension. In three studies we explored the appeal of stories when they are presented as fiction or as non-fiction. Subjects read (1) story synopses, (2) vignettes from two popular websites, or (3) narratives on relationships and war. Results indicate that readers preferred stories when they were presented, externally, as non-fiction. Readers also preferred stories that seemed internally — that is, because of how they were written — like fiction. Additionally the results suggested that readers rely more heavily on factual stories to update their notions of reality. This study contributes to a body of literature on reader enjoyment in relation to truth labels made explicit or implicit in narratives as well as on the efficacy of arts-based research.
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Baroni, Raphaël. "Configuration and Emplotment: Converging or Opposite Paradigms for Storytelling?" Poetics Today 42, no. 3 (September 1, 2021): 425–48. http://dx.doi.org/10.1215/03335372-9026187.
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Abstract Reflecting on Paul Ricoeur's discussion of historical configuration and fictional emplotment, this article proposes to actualize his model to oppose two prototypes of narrativity, which form two poles between which narrative representations extend. Instead of basing these prototypes on narrative genres such as historiography and fiction, it compares the configuration of narratives designed to inform readers about the signification of a past event with the emplotment of narratives aiming to immerse readers in a simulated past or a fictive storyworld. While contemporary narratology has been mostly concerned with the latter case, we will see that a comparison between narratives belonging to these two poles can help us better understand the functioning of narrative texts, most of them situated between these two extremes. Drawing on stories of a plane crash found in daily newspapers and magazines, the article shows that news stories usually favor the informative function, but when an event cannot be fully told, information enters a process of serialization, leading to the emergence of a “natural” plot. This leads to the conclusion that artificial emplotment is an imitation of prefiguration rather than the triumph of concordance.
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Fedotova, Oksana. "Special Strategies of Forming Fictional Narrative Metadiscourse." Scientific Research and Development. Modern Communication Studies 8, no. 6 (December 25, 2019): 74–78. http://dx.doi.org/10.12737/2587-9103-2019-74-78.
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The paper deals with special strategies of forming fictional narrative metadiscourse. The strategy of “the effect of a camera” is characteristic of some novels of the middle XX century. According to this strategy, the action quickly shifts from one situational frame to the other. Every new chapter in such narratives begins in a new place, at a different time and with a new character. Sometimes different actions take place within one chapter. The strategy “the imitation of a play” like “the effect of a camera” is connected with the visualization and with the filming of fiction. The author’s metadiscourse is represented by leaving the reader face-to-face with the characters. The reader sees and hears the dialogue between the characters with minute details, such as pauses, stutters and hesitations.
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Galstyan, Ashot. "Epistemological-Motivational Bases of Literary Non-Fiction Genre as Factors Determining The Linguistic Structure of Text." WISDOM 1, no. 6 (July 1, 2016): 21. http://dx.doi.org/10.24234/wisdom.v1i6.59.
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This article dwells on epistemological-motivational aspects of the literary non-fiction genre. The general features of memoir literature are examined form the point of view of their epistemological and cognitive aspects. The cognitive and informational specificities of non-fictional narratives are also considered.
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Lucchi Basili, Lorenza, and Pier Luigi Sacco. "Shakespeare in Love: A Fictional Transliteration of the Grammar of Heterosexual Mating." SAGE Open 9, no. 1 (January 2019): 215824401882237. http://dx.doi.org/10.1177/2158244018822376.
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This article explores the structure of the male–female interaction in the human mating process from the perspective of the so-called Tie-Up Theory, applying it to the analysis of a cinematic fictional narrative, namely the Shakespeare in love movie. We look at romantic fictional narratives as possible simulations with a social cognition valence, and show that, in the case study under exam, the actual structure of the interaction between the two main characters reflects the basic steps of a successful mating process. In view of this, the fact that the long-term couple is not formed at the end of the story neither jeopardizes its social cognition valence, nor the audience’s need and expectation of an emotional climax, as what makes the difference in terms of social cognition is not the story outcome, but the process that leads to it. Our research makes a case for a renewed interest toward romantic fictional comedies as an interesting source of insight into real mating-related interactions, provided that such narratives are socially validated in terms of audience response and intergenerational transmission.
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Ndlovu, Isaac. "Inside out: Gender, individualism, and representations of the contemporary South African prison." Journal of Commonwealth Literature 54, no. 3 (August 24, 2017): 399–412. http://dx.doi.org/10.1177/0021989417726107.
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This article examines A Human Being Died that Night: A Story of Forgiveness by Pumla Gobodo-Madikizela and Red Ink by Angela Makholwa, which are, respectively, auto/biographical and fictional narrative representations of the contemporary South African prison. Both narratives foreground gender because their female authors consciously posit their own femininity, in the case of Gobodo-Madikizela, and of her protagonist, in the case of Makholwa, as significant to the prison they portray. Although the way non-fiction and fiction operate cannot be conflated, Makholwa’s novel seems to mirror the structure of Gobodo-Madikizela’s auto/biography in obvious ways; an observation that helps justify why I analytically compare these narratives in this article. Most apartheid prison narratives, by authors of all genders, largely adopted an unambiguously political frame in articulating the subject positions of characters. The personal was deliberately subsumed in what appeared to be an urgent political need to dismantle the oppressive apartheid system. By contrast, there is a clear shift to the individualization of the prisoner at the expense of politicized collectivity in the selected narratives. However, my reading seeks to demonstrate that the ostensibly apolitical stance adopted by Makholwa and the personal and psychological approach taken by Gobodo-Madikizela are in fact deeply political and community-engaged processes.