The capacity of narrative to submit to the desires of this or that mind without giving up secret potential may be crudely represented as a dialogue between story and interpretation. This dialogue begins when the author puts pen to paper and it continues through every reading that is not merely submissive. In this sense we can see without too much difficulty that all narrative, in the writing and the reading, has something in common with the continuous modification of (...) text that takes place in a psychoanalytical process or in the distortions induced in historical narrative by metahistorical considerations. All that I leave to Roy Schafer1 and Hayden White. My immediate purpose is to make acceptable a simple proposition: we may like to think, for our purposes, of narrative as the product of two intertwined processes, the presentation of a fable and its progressive interpretation . The first process tends toward clarity and propriety , the second toward secrecy, toward distortions which cover secrets. The proposition is not altogether alien to the now classic fabula/sujet distinction. A test for connexity is that one can accurately infer the fable . The sujet is what became of the fable when interpretation distorted its pristine, sequential propriety . · 1. Not forever, I hope; his essay and its "refined common sense" have powerful implications for a more general narrative theory. Frank Kermode is King Edward VII Professor of English at Cambridge University. The author of The Sense of an Ending: Studies in the Theory of Fiction, Continuities, and Shakespeare, Spenser, Donne: Renaissance Essays, his works also include The Classic and The Genesis of Secrecy. His previous contributions to Critical Inquiry are "Novels: Recognition and Deception" , "A Reply to Denis Donoghue" , and "A Reply to Joseph Frank". (shrink)

"Cover"--"Title" -- "Copyright" -- "Dedication" -- "Contents" -- "List of Figures" -- "Acknowledgements" -- "1 Introduction" -- "Limina" -- "Anticipation and Recapitulation" -- "Problems of Cinematic Paratext" -- "2 Narrative Exposition" -- "Pseudo-independence" -- "Intratextuality" -- "3 Expositional Modes" -- "The Allegory Mode" -- "Lexical Expertise" -- "4 The Comment Mode" -- "Narrative Futurity" -- "Intertextuality and Quotation" -- "5 The Summary Mode" -- "Complex Summary" -- "Narrative Restatement" -- "6 The Prologue Mode" -- "Realist Integration" -- (...) "Expository Texts" -- "7 Conclusions" -- "The Paradoxes of Cinematic Paratext" -- "Typography and Pseudo-independence" -- "The Ideology of Naturalism::Stylization. (shrink)

Hamilton argues that narratives engage our imaginations not so much by having us pretend the events they depict are true or present as by having us engage in a kind of anticipation of events to come. The idea is that the grasp of a narratively structured presentation is explained in very much the same way any sequence of events, considered as a sequence, is grasped.

In this article I critically discuss a claim made by several writers in philosophy and the social sciences that for an individual to count as a person, a single personality, or the subject of a life, the experiences of the subject in question must take a narrative form. I argue that narrativity is a misleading and, in some ways of understanding it, implausible condition of what it is that adds unity to personhood and personality. I pursue this critique by (...) considering canonical accounts of narrativity in philosophy and literary studies. I consider those connections between events that must hold for the sequence to be considered a narrative: causal, teleological, and thematic connections. I argue that for each of these, the condition that experiential sequences (for a given subject) must have this structure is empty: any life sequence that is reflected upon in an interpretive spirit can meet it. What the condition of narrativity amounts to, then, is the more basic requirement that the person must be able to look upon the factors and events of her life with a certain interpretive reflection, whether or not those factors and events have any particular narrative unity in a traditional sense. (shrink)

Narrative and the real world are not mutually exclusive. Life is not a structureless sequence of events; it consists of complex structures of temporal configurations that interlock and receive their meaning from within action itself. It is also not true that life lacks a point of view which transforms events into a story by telling them. Our focus of attention is not the past but the future, because we grasp configurations extending into the future. Action involves the adoption of (...) an anticipated future-retrospective point of view on the present. The actions of life can be viewed as the process of telling ourselves stories. The retrospective view of the narrator is an extension and refinement of a viewpoint inherent in action itself. Because storytelling is a social activity, the story of one's life is told as much to others as to oneself. Social human time, like individual human time, is constructed into configured sequences. The practical first-order narrative process that constitutes a person or a community can become a second-order narrative whose subject is unchanged but whose interest is primarily cognitive or aesthetic. (shrink)

The relation between narratives and agency can be sometimes considered as mutually constitutive. There are cases in which telling a story expresses higher degrees of agency, and respectively, agency is shaped as a narrative that expresses the agent’s reasons. From henceforth, I will contend that a narrative theory, beyond the personal identity problem, can also enlighten how the agent attains giving reasons for the action by making sense of sequences of events. In order to explain how agency (...) is constituted from understanding and control, we must assume a primitive competence for narratives. Agency supposes an ordering that cannot be reduced to temporality, but expresses a certain sense of accomplishment that can be narratively constituted. In this context, I will examine Welleman’s theory of emotions as an ordering framework of the events in structures of means-ends. A possible objection to his explanation of the agential narratives is that emotions themselves need to be understood as narrative processes. I suggest then that an enactivist approach would be a way of explaining the narrative constitution of agency. One virtue of this approach is that it harmonizes the biological and cultural components of the agency from the most basic layers to the ordinary folk-psychological narratives. (shrink)

This article examines the discourse competence of high-functioning children with autistic spectrum disorders to participate in narrative introduction sequences with family members. The analysis illuminates the children’s own efforts to launch narratives, as well as their ability to build upon the contributions of others. Ethnographic, discourse analytic methodology is integrated with the theory of discourse organization and the weak central coherence account of autism. Introductions of both personal experience narratives as well as fictional narratives are examined. The children (...) were especially competent in the use of stable introductory practices when launching fictional narratives, pre-organized by the media of expression. Their challenge was not in the introduction, but in the narrative co-telling, which often was not globally organized over an extended course of propositions. The heterogeneity of the ASD children’s discourse competence and its implications for discourse analysis are discussed. (shrink)

Providing a wide-ranging account of the narrative properties of photographs, Greg Battye focuses on the storytelling power of a single image, rather than the sequence. Drawing on ideas from painting, drawing, film, video, and multimedia, he applies contemporary research and theories drawn from cognitive science and psychology to the analysis of photographs. Using genuine forensic photographs of crime scenes and accidents, the book mines human drama and historical and sociological authenticity to argue for the centrality of the perception and (...) representation of time in photographic narrativity. (shrink)

The idea of narrative has been widely discussed in the recent health care literature, including nursing, and has been portrayed as a resource for both clinical work and research studies. However, the use of the term 'narrative' is inconsistent, and various assumptions are made about the nature (and functions) of narrative: narrative as a naive account of events; narrative as the source of 'subjective truth'; narrative as intrinsically fictional; and narrative as a mode (...) of explanation. All these assumptions have left their mark on the nursing literature, and all of them (in our view) are misconceived. Here, we argue that a failure to distinguish between 'narrative' and 'story' is partly responsible for these misconceptions, and we offer an analysis that shows why the distinction between them is essential. In doing so, we borrow the concept of 'narrativity' from literary criticism. Narrativity is something that a text has degrees of, and our proposal is that the elements of narrativity can be 'sorted' roughly into a continuum, at the 'high narrativity' end of which we find 'story'. On our account, 'story' is an interweaving of plot and character, whose organization is designed to elicit a certain emotional response from the reader, while 'narrative' refers to the sequence of events and the (claimed) causal connections between them. We suggest that it is important not to confuse the emotional persuasiveness of the 'story' with the objective accuracy of the 'narrative', and to this end we recommend what might be called 'narrative vigilance'. There is nothing intrinsically authentic, or sacrosanct, or emancipatory, or paradigmatic about narrative itself, even though the recent health care literature has had a marked tendency to romanticize it. (shrink)

Narrative Representation Theory, an evolved framework of Verse Analysis, has come into existence with the mission of explaining the operation of macro-systemic structure that could be hardwired in the brain. Based on the analyses of creoles or archetypal human languages, the theory puts forward the premise stating that the fundamental design of the human language faculty possesses the computational system for internalized discourse. The theory preserves the principles of Quint-patterning, Idea-formatting, N-ary-branching and X-numbering, complying respectively with the hierarchical orderings (...) of constituency, the atomic elements of componentiality, the linear sequences of precedence and the specific measurement of terminal nodes. NRT tells that the macro-system of narrative superstructure must have emerged autonomously, yet links closely with the micro-system of phonology, morphology and syntax. This article explores for the first time scientific insights into the nature of human language, referring to recent research on the right cerebrum as well as on the prefrontal lobes of the brain, the relationship between mental disorders and their genetic deficiencies, and the investigations of human evolution during the period 200,000–40,000 years BP. All the converging evidence in biological sciences reinforces the hypothesis that the narrative superstructure of language faculty manifests as an inherent linguistic capacity in our mind. (shrink)

This long digression into language was necessary because we cannot understand verbal narrative unless we are aware of the iconic and indexical dimensions of language. Narrative is not just a sequencing, or the illusion of sequence, as the title of our conference would have it; narrative is a sequencing of something for somebody. To put anything into words is to sequence it, but to enumerate the parts of an automobile is not to narrate them, even though the (...) enumeration must mention each part in the enumeration's own discursive order. One cannot narrate a picture, or a person, or a building, or a tree, or a philosophy. Narration is a word that implicates its object in its meaning. Only one kind of thing can be narrated: a time-thing, or to use our normal word for it, an "event." And strictly speaking, we require more than one event before we recognize that we are in the presence of a narrative. And what is an event? A narrated event is the symbolization of a real event: a temporal icon. A narration is the symbolic presentation of a sequence of events connected by subject matter and related by time. Without temporal relation we have only a list. A telephone directory is a list, but we can give it a strong push in the direction of narrative by adding the word "begat" between the first and second entries and the words "who begat" after each successive entry until the end. This will resemble certain minimal religious narratives, even down to the exclusion of female names from most of the list . Robert Scholes is professor of English and comparative literature and director of the semiotics program at Brown University. He is the author of Structuralism in Literature: An Introduction, Fabulation and Metafiction, and Reading, Writing, and Semiotics. "Toward a Semiotics of Literature," his previous contribution to Critical Inquiry, appeared in the Autumn 1977 issue. (shrink)

We propose an extension of Discourse Respresentation Theory (DRT) for analyzing pictorial narratives. We test drive our PicDRT framework by analyzing the way authors represent characters’ mental states and perception in comics. Our investigation goes beyond Abusch and Rooth (2017) in handling not just free perception sequences, but also a form of apparent perspective blending somewhat reminiscent of free indirect discourse.

Some recent discussions of narrative structure consider the narrative as a sequence of events, and assume that the structure is what is manifested by the relation between any given event and the event 1, or perhaps the whole sequence from the first event up to the th event in the book. In the present discussion this approach will be modified in two ways. It will be modified, later on, by considering what would be happening if the writer were (...) revising his work into the final version, out of a penultimate version which was, as it were, a next-most complex version: one to which some final "complexifying" process had not yet been applied. The other way in which the present discussion will modify that approach is that it will consider narrative not as one sequence of events but as an interrelated set of sequences. · 1. E.g., R. Barthes, "Introduction à l'analyse structurale du récit," Communications, no. 8 , pp.1-27. John Holloway, professor of Modern English at the University of Cambridge, has written The Victorian Sage, The Charted Mirror, The Story of the Night, Blake: The Lyric Poetry, and five volumes of verse, such as New Poems. He is presently completing a book on poetic modes from Milton to Hardy and coediting a four-volume series on English and Irish street ballads. His other contribution to Critical Inquiry," Supposition and Supersession: A Model of Analysis for Narrative Structure" appeared in the Autumn 1976 issue. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:NARRATIVE AND EXPLANATION: EXPLAINING ANNA KARENINA IN THE LIGHT OF ITS EPIGRAPH Marina Ludwigs University ofCalifornia, Irvine In this paper, I will be examining the relation of explanation to narrative, looking briefly at the theoretical side ofthe problematic and in more detail at specific explanatory issues that arise in Tolstoy's novel Anna Karenina. Although the use itselfofthe term "explanation" is not as visible in the humanities as (...) it is in the sciences, the explanatory enterprise by other names is just as prominent. For indeed, an animating impetus behind textual interpretation is an explanation ofhowatextcan be brought into a correspondence with another text, while contemporary critical-theoretical activities of demystifying aesthetic and cultural assumptions, contextualizing historical knowledge, or laying bare ideological presuppositions are, in one way or another, engagements in the explanation ofthe workings of language. I approach humanistic explanation via a brief detour of scientific explanation, which constitutes an already established discourse with a set of defined issues and standard arguments, limiting myself to touching upon issues relevant to the narrativization of explanation. In scientific debates, explanation is defined as an answer to the question of "why?," in contradistinction to the question of "what?," which prompts a description of a phenomenon in question. Descriptive and explanatory conceptual frameworks, however, are interdependent. A physical description involves an "in-depth" understanding of underlying regularities. An explanatory answer to a question is, in its turn, an argument that logically deduces the explanandum (the description ofa phenomenon to be explained) from the explanans (well-understood regularities). This Marina Ludwigs125 formal definition of an explanation necessitates a symmetry between explanation and prediction, because the reconstructed logical sequence can also be read in the other direction, demonstrating the inevitability of what has occurred. Thus the sight of shattered glass and a baseball lying about allows me to explain the accident by invoking the law ofthe conservation ofmomentum and the low shock-resistance ofglass. But the knowledge of these regularities would have also allowed me to predict the same outcome had I seen the baseball flying in its direction ofthe window. The ontological status of "regularities" has elicited a lively debate in the scientific community pertaining to the problem ofthe "real." The standard view of regularities defines them as general laws (the kind we learn about in physics classes) that could be deductive or inductive, deterministic or statistical. A general law may be subsumed under another, even more general law, thus forming a unifying hierarchy of laws. A rival conception appeals to causal mechanisms and defines regularities as established chains oftemporal succession. Both models, the covering-law and the causal one, have been criticized: the former—for its failure to distinguish a law from an accidental generalization; the latter—for its resurrection ofthe metaphysical notion ofcausal influence and its inability to deal with probabilistic events. One of the later contenders is Nancy Cartwright's model, that proposes to conceive of regularities as so-called "nomological machines"—"fixed (enough) arrangements] ofcomponents, or factors, with stable (enough) capacities that in the right sort of stable (enough) environment will, with repeated operation, give rise to the kind of regular behavior that we represent in our scientific laws" (Cartwright 50). Cartwright claims that scientific models work on the ceteris paribus (everything else being equal) basis. That is to say they "hold only in circumscribed conditions or so long as no factors relevant to the effect besides those specified occur" (Cartwright 28), such as inside a battery, refrigerator, or a rocket—insofar as special shielding conditions are in effect (as a counterexample, imagine usingNewton's laws ofmechanics for describing the motion of a dropped crumpled dollar). Cartwright's explanatory framework is thus pragmatic and local, avoiding the twin pitfalls of the metaphysical assumptions underlying the two older models—the totalizing and unifying idea of a covering law, on the one hand, and the influence of causal "force," on the other. What is instead emphasized by her is a procedural aspect of scientific knowledge that has been historically prevalent and reflects the practical exigencies of human existence—the experience of dangers and natural obstacles to human 126Explaining 'Anna Karenina ' desires. When ill-defined impediments are analyzed and reduced to concrete difficulties, specific... (shrink)

Visual narratives like comics involve a range of complex cognitive operations in order to be understood. The Parallel Interfacing Narrative‐Semantics (PINS) Model integrates an emerging literature showing that comprehension of wordless image sequences balances two representational levels of semantic and narrative structure. The neurocognitive mechanisms that guide these processes are argued to overlap with other domains, such as language and music.

I propose that we can explain the contribution of mental time travel to agency through understanding it as a specific instance of our more general capacity for narrative understanding. Narrative understanding involves the experience of a pre-reflective and embodied sense of self, which co-emerges with our emotional involvement with a sequence of events. Narrative understanding of a sequence of events also requires a ‘recombinable system’, that is, the ability to combine parts to make myriad sequences. Mental (...) time travel shares these two characteristics: it involves an embodied sense of self and the ability to create novel scenarios. What is unique about mental time travel is that it is a story explicitly about our selves, and it involves metarepresentation. Agency is enabled by narrative understanding when we are able to put our current situation into a larger narrative context, whereby some possible actions, but not others, make sense. However, new features of agency are enabled when we understand stories that are explicitly about our selves: we gain the ability to plan and act on plans. (shrink)

Narrative has proven itself a continuous as well as adaptable means for environmentally oriented expression. Its role goes beyond the mediation of pre-existing knowledge imported into the realm of storytelling from other domains; rather, influential models of the natural world tend to circulate as storyworlds. This special issue of SubStance proceeds from the premise that narratives are not only a sequence of signs encoding a story but also “invisible, elusive representations that exist only in the mind”. Narrative forms (...) generate and transfer environmental knowledge; moreover, any specifically narrative concerns are important contributing factors to the models of agency, change... (shrink)

This study analyzed the relation between mental time travel (MTT) and the ability to produce a storytelling focusing on global coherence, which is one of the most notable characteristics of narrative discourse. As global coherence is strictly tied to the temporal sequence of the events narrated in a story, we hypothesized that the construction of coherent narratives would rely on the ability to mentally navigate in time. To test such a hypothesis, we investigated the relation between one component of (...) MTT—namely, episodic future thinking (EFT)—and narrative production skills by comparing the narratives uttered by 66 children with high-functioning autism spectrum disorder (ASD) with those produced by 66 children with typical development. EFT was assessed by administering a task with minimal narrative demands, whereas storytelling production skills were assessed by administering two narrative production tasks that required children to generate future or past episodes with respect to the target stimuli. The results showed that EFT skills were impaired only in a subgroup of children with ASD and that such subgroup performed significantly worse on the narrative production task than ASD participants with high EFT skills and participants with typical development. The practical and theoretical implications of these findings are discussed. (shrink)

This article analyzes the concept of narrative.How do we recognize a narrative when we seeone? Which criteria do we or should we apply?The article itself serves as a (possible)example of a narrative, and is thus adiscussion of itself as a narrative product. Ialso discuss the possible narrative structureof the process leading up to the completedarticle. I first discuss two approaches tocategorization and the most commonly referredto criteria for identifying narratives. Next Idiscuss various roles found in (...) narratives andthe roles found in the current article. FinallyI discuss the problems principally involved inpunctuation of sequences and thus in decidingwhich narrative we are dealing with. Itis concluded that the categorization criteriaare too vague to perform the job they areintended to do. (shrink)

Drawn sequences of images, like those in comics and picture stories, are a pervasive and fundamental way that humans have communicated for millennia. Yet, the study of visual narratives has only recently gained traction in Cognitive Science. Here we explore what has held back the study of the cognition of visual narratives, and why researchers should join in scholarship of this ubiquitous aspect of expression.

The article analyses the gradual development of the narrative and the change in its main features. Initially, the narrative was considered as an authentic reproduction of past experience that is meaningful for the narrator. Later, the definition and study of such attributes of the narrative as sequence, plot, the narrator’s value attitude, and time began. Contemporary research focuses on temporality, causality, the context of narrative formation, certainty (uncertainty) of narrative scenarios, and narrative control. There (...) has been a shift away from viewing the narrative as a finished product towards understanding it as a process of meaning-making from the narrator’s present. Narrative formation is rooted in social or personally meaningful context. (shrink)

Horror film sequels have not received as much serious critical attention as they deserve – this is especially true of the Saw franchise, which has suffered a general dismissal under the derogatory banner ‘Torture Porn’. In this article I use detailed textual analysis of the Saw series to expound how film sequels employ and complicate expected temporal and spatial relations – in particular, I investigate how the Saw sequels tie space and time into their narrative, methodological and moral sensibilities. (...) Far from being a gimmick or a means of ensuring loyalty to the franchise (one has to be familiar with the events of previous episodes to ascertain what is happening), it is my contention that the Saw cycle directly requests that we examine the nature of space and time, in terms of both cinematic technique and our lived, off-screen temporal/spatial orientations. -/- . (shrink)

The ArgumentThis essay describes the emergence and stabilization in French and English experimental accounts, in second half of the seventeenth century, of the narrative sequence: X did (some process in the laboratory) and X saw (something happen), where X stands for a pronoun, I or we in English,je, nousoronin French. Focussing on the French case, it shows how the use of the collective pronounonin the experimental accounts registered in the files of the Académie des Sciences is directly related to (...) the will of this newly created institution to assert a collective authority on the production and legitimization of experimental matters-of-fact produced in the laboratory. It is argued, through the case of the discovery of the blind spot in the eye by Mariotte, that this new narrative form imbeds a construal of the experiment as a public spectacle, and of the proof as a witnessing event, which eludes the Academy's attempts to monopolize the process of fact validation and favors the diffusion and display of experiments in front of larger audiences. The question of whether a privileged witness such as the King of France who patronized the Academy could not have constituted by himself a suitable audience to ensure a full legitimization of experimental matters-of-fact while remaning within the bounds of academic practices is addressed. It is answered in the negative by providing evidence for the lack of interest of the absolute monarch in experiments. On the other hand, the outdoor practices of observation and measurement are shown to interfere in a constructive manner with the absolutist power and to capture the attention of the absolutist monarch, where laboratory experiments had failed. It is proposed that natural philosophers in the early modern period bear the burden of proof in buying credibility for the phenomena they try, by paying a tribute to the standing of the patrician elites that witness their experiments. This makes sense in a straightforward manner of the lack of interest of the King of France in a practice which exalts the power of the very group he is trying hard to control through the absolutist structure of power. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Storytelling and Narrative Knowing:An Examination of the Epistemic Benefits of Well-Told StoriesSarah E. Worth (bio)IntroductionPeople love to tell stories. When something scary, or funny, or out of the ordinary happens, we cannot wait to tell others about it. If it was really funny, etc., we tell the story repeatedly, embellishing as we see fit, shortening or lengthening it as the circumstances prescribe. When people are bad storytellers we (...) tend not to pay as close attention to their stories; our minds drift, and we hope for a swift conclusion. We tend not to remember those stories as well as the ones that were carefully constructed and skillfully delivered. Storytelling is one of our primary forms of communication with other people. Narrativity is the principle way that human beings order their experience in time. It is also one of the primary ways that humans make coherent sense out of seemingly unrelated sequences of events. Thus, an account of how this ordering works is essential to understanding one of the many ways of knowing used by humans, one that has been widely unaccounted for, I believe. What I will argue in this article is that reading, telling, and hearing well-constructed narratives are not just idle pastimes that we have created for entertainment purposes or even as a mere means of communication. Rather, there are epistemological benefits to reading, hearing, and telling well-constructed narratives. In particular, by practicing what I call narrative reasoning, we develop this skill, just as by practicing discursive reasoning we develop discursive reasoning skills. In turn, we develop an enhanced reasoning ability that arises from narrative reasoning and narrative meaning construction. Ultimately, I will argue that those who are able to develop the capacity to reason narratively will be able to have a more comprehensive understanding of the human experience. [End Page 42]Defining NarrativeTo begin, I will go into some detail about what I mean when I talk about narratives since the reasoning skills that will ultimately come from engaging with narratives will be related to the way that we come to understand and make sense of them. Since I do not intend to posit a theory of narrative, I will talk about what constitutes narrativity and what sort of features contribute to increasing the narrativity of a story. To begin, narrative is generally the representation of an event or sequence of events. It is closely tied to description, but it goes beyond description. "My cat has fleas" is a description of a state of affairs. "My cat was bitten by a flea" is a narrative about my cat, which includes a description. Some theorists (such as Barthes and Rimmon-Kenan) argue that a narrative must consist of more than one event or state of affairs in order to be minimally considered a narrative. For my purposes, the change in states of affairs from one to another will be essential for understanding the cognitive aspects that can be gained from engaging with narrative. Although I do not advocate a minimal requirement for something to be considered a narrative, at least two, if not multiple, states of affairs increase narrativity significantly. Narratives also have a unified subject and some relatively easily understood temporal structure. Although many narratives do not order all of their events sequentially, good narratives will have a temporal order that can be gleaned by its reader.1An annal might be something that is temporally ordered and likely have more than two events or states of affairs, and for this reason it might be put into a category of "story form." The primary principle of organization of an annal, however, is merely a temporal list of events. It cannot count as a full-fledged narrative since it may be a temporal list of events that has no unified subject. For example,A: "The Space shuttle Challenger explodes in 1988, the Berlin wall comes down in 1989, there is a massacre at Srebenica, Bosnia in 1995."B: "The Space Shuttle Columbia blows up upon reentry to Earth; the Space Shuttle Challenger explodes upon take off."A is a temporally ordered list of events and is an annal; B, however, is... (shrink)

The essays included in this special issue of Critical Inquiry are a product of the symposium on “Narrative: The Illusion of Sequence” held at the University of Chicago on 26-28 October 1979. The rather special character of this symposium was not fragmented into concurrent or competing sessions, and all the speakers remained throughout the entire weekend to discuss the papers of their fellow participants. Several distinguished participants, in fact, did not read papers but confined their contributions to the conversations (...) which developed over the several sessions of the three-day program. The impact of these sustained discussions is reflected in the revisions which the authors made in preparing their papers for this special issue, and thus this collection is a “product” of the symposium in a fairly precise sense. (shrink)

This article argues that many, if not most, behavior descriptions and sequencing are in essence an interpretation of signs, and are evaluated as sequences of signs by researchers. Thus, narrative analysis, as developed by Barthes and others, seems best suited to be used in behavioral/biosemiotic studies rather than mathematical modeling, and is very similar to some classic ethology methods. As our brain interprets behaviors as signs and attributes meaning to them, narrative analysis seems more suitable than mathematical (...) modeling to describe and study behavior. Mathematical models are, on many occasions, extremely reductionist and simplifying because of computational and/or numerical representation limitations that lead to errors and straitjacketing interpretations of reality. Since actual animals are not as optimal in real life as our mathematical models, here it is proposed that we should consider logical/verbal models and semantic interpretations as equally or even better suited for behavioral analysis, and refrain from enforcing mathematical modeling as the only way to study and understand biological problems, especially those of a behavioral and biosemiotic nature. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Parables of Narrative ImaginingDavid Herman (bio)Mark Turner. The Literary Mind. Oxford: Oxford UP, 1996.The literary mind? The literary mind? The literary mind? Any which way you parse it, the title of Mark Turner’s provocative, elegantly written study seems to beg important questions, assume things that do not by any means go without saying. First parse: is there in fact a literary (part of the) mind? That is, is (...) there some nondiscrete but semi-autonomous module of cognitive capacities required for using and understanding literary discourse—a module that takes information (as its input) from other modules, operates on that information in some way, then feeds the transformed information (as its output: “literature”) into yet other modules, which in turn take that information as their input? 1 Second parse: assume that there is some module involved in the production and interpretation of literary discourse. Then of what nature, exactly, are the operations performed within that module, and how do they operate on the input in a way that makes the output specifically literary? How precisely is literature born from this process or set of processes? Doesn’t this kind of account suffer from all the disadvantages (inexplicitness, for example) that it inherits from its parent model, the black-box explanation? Third parse: should we even be talking about “minds” at all in connection with literature and the study of literature? Hasn’t “The Intentional Fallacy” and everything that has happened since in the fields of critical and cultural theory—from Marxism and poststructuralism to New Historicism and cultural studies—taught us to center critico-theoretical discourse anywhere but in “the mind”? Hasn’t all this research exposed the mind (of the author, reader, subject, or postsubject, as the case may be) as a construct with more or less noxious political and cultural properties? Are not the discourses of and about the mind so many strategies of interpellation—vehicles by which ideology can work to implant the illusions of inviolable inwardness, unchanging essence, and predetermined identity within a subject that takes such imagined realities to be its real conditions of existence? 2Turner does not directly address any of these questions—at least in the way that I have framed them. That may be grounds for criticism: if you are using a title that can be construed as polemical, then the onus is on you to explain just how the title positions your work in a wider context of argumentation. But at the same time, Turner’s analysis reformulates the underlying problems to which some of my questions point, thus raising [End Page 20] other, equally important issues. Coming to terms with these other issues may change the way we ask questions about things like literature and the mind. Specifically, as part of a larger “cognitive revolution” now unfolding in social-scientific and humanistic disciplines ranging from linguistics to literary and narrative theory, Turner’s book provides ample reasons for not thinking the idea of mind tantamount to an ideology of mind. 3 After all, reducing mind to an ideology of inwardness leaves unexplained any number of basic facts about perception, cognition, and language processing. There is, for example, our ability to use “image schemata” such as motion along a path and bounded interior to make sense of events like milk being poured into a cup, on the one hand, and contained spaces like the ones inside bottles, heads, and houses, on the other hand [Turner 16]. Relying on such schemata, I don’t regularly try to pour wine into a cutting board or to measure, in miles per hour, the speed of an asparagus stalk as it sits on the kitchen counter.There is also—to invoke a slightly different cognitive-scientific vocabulary—our ability to make predictions about emergent situations and sequences of events on the basis of prior, stereotypical situations and sequences stored in the memory as knowledge representations sometimes called frames and scripts [see Schank and Abelson]. For example, the script associated with making a purchase guides me in my interaction with the person at a cash register, such that I can make seemingly effortless predictions about what this person wants me to do... (shrink)

In everyday interaction, people recurrently animate, enact, or report on talk or thought. In this article, enactments of hypothetical, non-narrative talk in advice-relevant sequences are examined, with a focus on their role in modeling desirable stance or conduct. Data consist of interactions in institutional settings, such as performance appraisal interviews, university teaching, and talk show counseling. It is demonstrated how enactments of possible talk are used as devices for hands-on demonstrations of proper or improper conduct in sequences (...) involving orientations to some kind of problematic behavior or stance, which in turn works to make assessments about different types of conduct. The accomplishment of contrasts between desired and undesired conduct is central, and contributes to the assessment of particular behaviors or stances. Different delivery formats of enactments are examined and compared to the action accomplished. It is argued that modeling talk enactments constitute resources for doing implicit criticism and ‘positive socialization’ in interaction, and that through enactments, participants may perform both explicit and implicit moral work. (shrink)

Cohn's (2013) theory of “Visual Narrative Grammar” argues that sequential images take on categorical roles in a narrative structure, which organizes them into hierarchic constituents analogous to the organization of syntactic categories in sentences. This theory proposes that narrative categories, like syntactic categories, can be identified through diagnostic tests that reveal tendencies for their distribution throughout a sequence. This paper describes four experiments testing these diagnostics to provide support for the validity of these narrative categories. In (...) Experiment 1, participants reconstructed unordered panels of a comic strip into an order that makes sense. Experiment 2 measured viewing times to panels in sequences where the order of panels was reversed. In Experiment 3, participants again reconstructed strips but also deleted a panel from the sequence. Finally, in Experiment 4 participants identified where a panel had been deleted from a comic strip and rated that strip's coherence. Overall, categories had consistent distributional tendencies within experiments and complementary tendencies across experiments. These results point toward an interaction between categorical roles and a global narrative structure. (shrink)

Despite the ubiquity of healthcare simulation and the humanities in medical education, the two domains of learning remain unintegrated. The stories suffused within healthcare simulation have thus remained unshaped by the developments of narrative medicine and the health humanities. Healthcare simulation, in turn, has yet to utilize concepts like co-construction and narrative competence to enrich learners’ understanding of patient experience alongside their clinical competencies. To create a conceptual bridge between these two fields (including narrative-based inquiry more broadly), (...) we redescribe narrative competence via Ronald Heifetz’s distinction of “technical” and “adaptive” challenges outlined in his adaptive leadership model. Heifetz, we argue, enriches learners’ self-understanding of the unique demands of cultivating narrative competence, which can be both elucidated on the page and tested within the charged yet supportive simulation environment. We introduce Co-constructive Patient Simulation (CCPS) to demonstrate how working with simulated patients can support narrative work by drawing on the clinical vicissitudes of learners in the formulation and enactment of case studies. The three movements of CCPS—resensing, retelling, and retooling—told through learner experiences, describe the affinities and divergences between narrative medicine’s sequence of attention, representation, and affiliation; Montello’s three forms of narrative competence (departure, performance, change), and Heifetz’s three steps (observe, interpret, and intervene) of adaptive leadership. (shrink)

Psycholinguistics has provided numerous theories that explain how a person acquires a language, produces and perceives both spoken and written language, including theories of proceduralization. Learners of English as a foreign language often find it difficult to achieve oral fluency, a key construct closely related to the mental state or even mental health of learners. According to previous research, this problem could be addressed by the mastery of formulaic sequences, since the employment of formulaic sequences could often promote (...) oral fluency in the long run, reflected in the positive relationship between formulaic sequence use and oral fluency. However, there are also findings contradicting the abovementioned ones, without adequate explanations. This study aims to explore the roles of formulaic sequences in oral fluency, taking into account the relationship between formulaic sequence use and oral fluency. This study investigated 120 pieces of spoken narratives by Chinese EFL learners, using both quantitative and qualitative methods, combined with artificial intelligence techniques. Results of canonical correlation analysis showed that the frequency of formulaic sequences was significantly related to speed fluency and breakdown fluency, while the variety of formulaic sequences was significantly related to repair fluency. Case studies further demonstrated that formulaic sequences could contribute to oral fluency development by promoting speed and reducing pausing when retrieved holistically, but they sometimes lost processing advantages when retrieved and processed in a word-by-word manner. The inappropriate use of formulaic sequences also neutralized the facilitative effects of formulaic sequences on repair fluency and could mirror speakers’ occasional tendency to sacrifice repair fluency for the improvement of speed and breakdown fluency when using formulaic sequences. Pedagogical implications were provided accordingly to promote sustainable oral fluency development through the use of formulaic sequences. (shrink)

Background Analysis of aphasic narratives can be a challenge for clinicians. Previous studies have mainly employed measures that categorized speech samples at the word level. They included quantification of the use and misuse of different word classes, presence and absence of narrative contents and errors, paraphasias, and perseverations, as well as morphological structures and errors within a narrative. In other words, a great amount of research has been conducted in the aphasiology literature focusing on micro-linguistic structures of oral (...) narratives. Aspects of macro- linguistic structures, such as the analysis of content information by a speaker, consistency of using cohesive devices to present information within a narrative, and order of presenting information necessary to form a coherent discourse, have not been extensively investigated. The current investigation proposes a clinical analytic system to target three aspects of macro-linguistic structures in narratives among speakers with aphasia. Specifically, (1) the presence of search events (i.e., the mentioning of key events that allow the listener to understand; Capilouto, Wright, &Wagovich, 2006) within a narrative, (2) the sequence of the mentioned events, and (3) the informativeness (i.e., the fulfillment of lexical items that allow the user to understand what the event is detailing) of the event contents, were focused in the proposed framework. Method Ten controls transcripts from were selected from the AphasiaBank (MacWhinney, Fromm, Forbes, & Holland, 2011). Three narrative tasks, including sequential picture description of ‘Refused Umbrella’, procedural narrative of making a ‘Peanut Butter and Jelly Sandwich’, and telling of ‘Cinderella’ story, were used to establish normative data for the basis of analysis. Specifically, the Search Events (e) and Informative Words (i) used by at least 70% of the speakers were listed for each genre. The sequential order of mentioning the Search Events, i.e., common order of events in 90% of the speakers, (s.total) was determined. Twelve speakers with aphasia (nine fluent and three non-fluent) were recruited and administered the Western Aphasia Battery and Object and Action Naming Battery. Their performance in the above three discourse tasks were orthographically transcribed and analyzed using the following measures: e.total, e.matched with norm, e.missed, e.irrlevant, e.extra, s.total, i.pb&j, i.umbr, i.cind, and i.total. Three samples were randomly chosen to be re-analyzed for inter- and intra-rater reliability. Results Results of an independent t-test suggested significant differences between the fluent and non-fluent subjects in sequential order of Search Events for all genres (s.total) and i.total, suggesting sensitivity of this framework to differentiate between the two fluency groups. Results of Pearson product-moment correlations revealed significant relation between Informative Words and WAB spontaneous speech scores, AQ, as well as OAB scores, for both aphasic groups. The mean value of coefficients for intra-rater reliability (0.992), with significant correlations on e.match, e.miss, and e.extra, was higher than that of inter-rater reliability (0.897). Discussion Based on our preliminary results, this objective framework allowed clinical evaluation of impairment in macro-linguistic structures present in aphasic discourse. Further extension should involve more subjects encompassing a wider range of severity with different types of aphasia. (shrink)

The regional brain networks and the underlying neurophysiological mechanisms subserving the cognition of visual narrative in humans have largely been studied with non-invasive brain recording. In this study, we specifically investigated how regional and cross-regional cortical activities support visual narrative interpretation using intracranial stereotactic electroencephalograms recordings from thirteen human subjects (6 females, and 7 males). Widely distributed recording sites across the brain were sampled while subjects were explicitly instructed to observe images from fables presented in “sequential” order, and (...) a set of images drawn from multiple fables presented in “scrambled” order. Broadband activity mainly within the frontal and temporal lobes were found to encode if a presented image is part of a visual narrative (sequential) or random image set (scrambled). Moreover, the temporal lobe exhibits strong activation in response to visual narratives while the frontal lobe is more engaged when contextually novel stimuli are presented. We also investigated the dynamics of interregional interactions between visual narratives and contextually novel series of images. Interestingly, the interregional connectivity is also altered between sequential and scrambled sequences. Together, these results suggest that both changes in regional neuronal activity and cross-regional interactions subserve visual narrative and contextual novelty processing. (shrink)

Human communication can be either monosemiotic or polysemiotic, depending on whether it combines ensembles of representations from one or more semiotic systems such as language, gesture and depiction. Each semiotic system has its unique storytelling potentials, which makes intersemiotic translation from one system to another challenging. We investigated the influence of the source semiotic system, realised in speech and a sequence of pictures, respectively, on the way the same story was retold using speech and co-speech gestures. The story was the (...) content of the picture book Frog, Where Are You?. A group of Finnish speakers saw the story in pictures, and another group heard it in matched oral narration. Each participant retold the story to an addressee and all narrations were video-recorded and analysed for both speech and gestures. Given the high degree of iconicity in depiction, we expected more iconic gestures (especially enactments) in the narratives translated from pictures than in those translated from speech. Conversely, we expected greater narrative coherence in the narratives translated from speech. The results showed that more iconic gestures were produced in the narratives translated from speech, but these were primarily not from the enactment subtype. As expected, iconic enactments were more frequent in the narratives translated from the story presented in pictures. The narratives produced by participants who had only heard the story did not have a greater variety of connective devices, yet the type of devices differed slightly between the groups. Together with some additional differences between the groups that had not been anticipated, the results indicate that a story presented in different semiotic systems tends to be translated into different polysemiotic narratives. (shrink)

This paper proposes a conceptual framework of multiversional narrative processing, or multiversionality. Multiversionality is the consideration of multiple possible event sequences for an incomplete narrative during reception, from reading a novel to listening to the story of a friend’s day. It occurs naturally and is experienced in a wide range of cases, such as suspense, surprise, counterfactuals, and detective stories. Receiving a narrative, we propose, is characterized by the spontaneous creation of competing interpretive models of the (...) narrative that are then used to create predictions and projections for the narrative’s future. These predictions serve as a mechanism for integrating incoming information and updating the narrative model through prediction error, without completely eliminating past versions. We define this process as having three aspects: (1) constrained expectations, (2) preference projection, and (3) causal extrapolation. Constrained expectations and preference projections respectively create the bounds and subjective desires for a narrative’s progress, while causal extrapolation builds, reworks, and maintains the potential models for understanding the narrative. We offer multiversionality as a novel framework for thinking about narrative, social cognition, and decision making that presents adaptive benefits and future directions for empirical study. (shrink)

This article analyses the discursive construction of collective and individual memories and the functions of commemorative events for the discursive construction of national identities through the example of Austrian post-war commemorative events. Thus, the various attempts to come to terms with the Nazi past in post-war Austria are illustrated in detail. The article will first summarize the socio-political contexts relating to the relevant post-war commemorative years in Austria. Then we will consider sequences of a political speech by the then (...) Austrian chancellor, Dr Wolfgang Schüssel, as one of many possible examples in 2005 which establishes a hegemonic stance towards the Nazi past. Finally, we will discuss our results and illustrate that, in addition to hegemonic discourses, competing narratives aim to provide different answers to the basic question `how should one come to terms with traumatic pasts?' Our results are such that in the hegemonic narrative of Austrian history after 1945, the political event of the Declaration of Independence is represented metaphorically as a `rebirth'; a metaphorical scenario which constructs a `creation myth', and by this anthropomorphization suggests that `newborn' Austria is to be perceived as innocent as a newborn child. On the other hand, the historical events before and after are placed in the cognitive frame of natural disasters or fateful events and a community of victims is discursively constructed comprising the victims of the Nazi terror as well as the soldiers waging the war of aggression. Discursive patterns apparent in this case study can, of course, be generalized to similar communicative events in many nation-states. The specific systematic and explicit linguistic/pragmatic and discourse-analytic methodology presented in this article lends itself to deconstruct official discourses which influence collective beliefs, opinions and ideologies. (shrink)

Whole–exome sequencing (WES) has increased our ability to analyze large parts of the human genome, bringing with it a plethora of ethical, legal, and social implications. A topic dominating discussion of WES is identification of “secondary findings” (SFs), defined as the identification of risk in an asymptomatic individual unrelated to the indication for the test. SFs can have considerable psychosocial impact on patients and families, and patients with an SF may have concerns regarding genomic privacy and genetic discrimination. The Genetic (...) Information Nondiscrimination Act of 2008 (GINA) currently excludes protections for members of the military. This may cause concern in military members and families regarding genetic discrimination when considering genetic testing. In this report, we discuss a case involving a patient and family in which a secondary finding was discovered by WES. The family members have careers in the U.S. military, and a risk–predisposing condition could negatively affect employment. While beneficial medical management changes were made, the information placed exceptional stress on the family, who were forced to navigate career–sensitive “extra–medical” issues, to consider the impacts of uncovering risk–predisposition, and to manage the privacy of their genetic information. We highlight how information obtained from WES may collide with these issues and emphasize the importance of genetic counseling for anyone undergoing WES. (shrink)

The belief of Gallie, Danto, and others that history is constructing narratives is too simplistic and neglects the role of inquiry and discovery. Teleology in history - only events relevant to a known outcome find a place in a work -while similar to that in narratives is not decisive, since in any explanation the explicandum controls the explicans to some extent. History is not recounting a linear sequence of intelligible human actions but is an analysis of a complex pattern of (...) change into factors that served to make it what it was. Social backgrounds and conditions that are influences but not actually parts of the story of actions are crucial; the fundamental relationship is part to whole, not antecedent to consequent. (shrink)

The foundations of the narrative about the partisan war in socialist Yugoslavia drew from the familiar tradition of folktales and prompted the moulding of a group of characters who, as a rule, followed a pre-established sequence of events, offering a rather polished image of the People’s Liberation Struggle. This paper will focus on one archetype that found its place in the war myth–the partisan mother. The aim of the paper is to illustrate how the women who experienced the armed (...) conflict in Yugoslavia described women’s wartime engagement. More specifically, it shows the extent of their participation in the promotion of the officially established image of the partisan mother and the aspects in which their narrative reimagined, enriched and challenged the heritage of the People’s Liberation Struggle. (shrink)

Courtroom talk in child custody interrogations recurrently features contrasting event descriptions about ‘what happened’, as well as contrasting person descriptions. This case study – from a large set of audio-recorded courtroom examinations – documents how social workers’ contrasting narrative versions about alleged domestic violence are related to divergent problem formulations. Blame-account sequences feature descriptions of a particular event as violent or nonviolent and descriptions of a new partner as ‘non-adult’ or merely as ‘impulsive’ but ‘concerned’. Other contrasting person (...) descriptions feature a target child either as ‘normal’ or as someone who ‘has a diagnosis’. This involves categorizations of the particular child either as a victim or as someone ‘with a diagnosis’, two contrasting accounts that provide divergent explanatory formulations of what the overall problem is. Ultimately, divergent testimonies also reflect how social accounts in court reflect both mitigated/aggravated descriptions of violence and divergent accounts of parents’ and children’s agency and accountability. (shrink)

Forschungsgeschichte - Handbuch/übergreifende Darstellung.

The article explores the semantic potential of social narratives associated with the creation and constitution of the Orthodox Church of Ukraine, which caused a interpretations conflict, marked by conflicting interpretations and differences in meanings that are applied in different contexts. The narrative arranges events in a certain time sequence, accumulates and translates meanings, individual and social experience. The presence of meanings in the interpretation of the narrative depends on the perspective, interpretation horizons and the subject's ability to analyze (...) information and its correct application. The social narrative accumulates a set of stories and messages that are fragmentary and disordered, constructs a coherent plot aimed at finding and defining meanings, and forming social discourse. Social narratives materialized in social structures, orientations, expectations, and stereotypes of their bearers due to everyday modification in the form of simple images, attitudes, and principles. Since each social narrative claims to be exclusive and correct in its own way of understanding events, a clash of narratives and their interpretations is inevitable. A large-scale event determines the modification of social structures, standards, and evaluation criteria, is accompanied by the transformation of everyday life, reveals deep mental layers, and opens up new perspectives. The extraordinary event that was marked by the creation of the Orthodox Church of Ukraine is accompanied by diametrically opposite assessments from the clergy, believers, politicians, experts – from the statement about autocephaly as the only opportunity to achieve unity and recognition of Ukrainian Orthodoxy to the political subtext justification of the new religious organization creation. Church circles represented by representatives of the Ukrainian Orthodox Church of the Moscow Patriarchate claim that the state interferes in the internal Affairs of the Church. The Constitution of the Orthodox Church of Ukraine takes place in the context of the confrontation of two social narratives – the «ukrainian world» and the «russian world». The social narrative «ukrainian world» is based on values rooted in the national soil, but the social narrative «russian world» denies the existence of the Ukrainian nation and the Ukrainian state. Under the patronage of the Russian Orthodox Church, the expression of the ideas of the «russian world» is the Ukrainian Orthodox Church of the Moscow Patriarchate, which enshrines in the minds of believers ideologies about «the common origin of the Ukrainian and Russian peoples», «the common baptismal font», «the unity of the historical space of Holy Rus», «the identity of the East Slavic Orthodox civilization». The Ukrainian Orthodox Church of the Moscow Patriarchate did not support the decision of patriarch Bartholomew to grant autocephaly to the Orthodox Church of Ukraine. Metropolitan Onufriy did not give his blessing to the hierarchs to participate in the Unification Council, which is called «a non-canonical assembly of schismatic groups». The Ukrainian Orthodox Church of the Moscow Patriarchate, according to its primate, has de facto autocephaly, so it is the only canonical local Orthodox Church in Ukraine. In the face of the conflict of public narratives, the Orthodox Church of Ukraine, along with meeting the spiritual needs of believers, contributes to the formation of national identity, the formation of a worldview matrix that will determine the vision of the future development of the country. (shrink)

The objective of this article is to investigate the perceptual experience of a mediated temporality as it pertains to the structure and iteration of the narrative matrix. It examines the construction of the internal narrative assembled from disparate points of media production and distribution fictionalized into codified sequences through the operational stages of figuration and the subsequent iteration. The article will consider the syntagmatic and the paradigmatic within the narrative matrix of the Arab Spring, and the (...) subsequent breakdown of the chronological and mimetic activity. […] time becomes human to the extent that it is articulated through a narrative mode, and narrative attains its full meaning when it becomes a condition of temporal experience. (shrink)

If narrating—the feeling of stories, fictional or otherwise—is an inherent possibility of motion pictures , then Kracauer's distinction between the realist and formative tendencies must be questioned and, in effect, the two must be synthesized. Wasn't the practical problem for the earliest films how to construct a formative sequence of events within an absolutely real-looking visual context? Wasn't the paradox of film narrative the combination of an obviously unreal sequence of events with an obviously real visual and social setting? (...) And isn't that paradox the most intriguing and complex problem of narrative film today, when the visual and social setting have become increasingly real-seeming? And doesn't this paradox have something to do with the fact that narrative film today seems richer and more important than it did a decade ago, at a time when various admirers of both cinéma vérité and cinéma pur had announced the death of fictional filmed narrative? Kracauer's realist aesthetic, concentrating exclusively on the photographic surfaces of things in the material world , overlooks this paradox altogether. It overlooks the fact—extremely relevant to the cinema—that the term "realist" means one thing in its common application to a painting or photograph and quite another thing in its equally common application to a novel or play. A realistic visual image is one that is said to "look like," "resemble," "reproduce," "iconically represent" the surfaces of the visual world. We see—or think we see—in a painting what we see—or think we see—in the real world.1 But a realistic story is one that is said to chronicle "credibly," "probably," and "believably" the way we think people feel, think, or act, the way things happen, and the reasons they happen, all of which are consistent with the reader-audience-society's beliefs about psychology, motivation, and probability. The standard of one sense of realism is primarily visual while the standard of the other is primarily psychological. One might see the early films groping, then, toward a synthesis of the visual realism of late-nineteenth-century painting/photography with the psychological realism of late-nineteenth-century novel/drama. · 1. This equivocation deliberately avoids the question of whether there is anything actually real about what one sees in a painting or photograph. The fact is that a very large number of viewers operate in this assumption because they think there is something real about what they see, despite the theoretical imprecision of their holding such a belief. Gerald Mast is the author of, among other works, A Short History of the Movies, The Comic Mind: Comedy and the Movies, and Film/Cinema/Movie: A Theory of Experience. His previous contribution to Critical Inquiry, "What Isn't Cinema?," appeared in the Winter 1974 issue. (shrink)

How do participating in a work of fiction and imagining a fictional world intertwine with the reader’s life? I develop an account that explores the relation between fiction reading and the reader’s narrative identity. Starting with an investigation of Paul Ricoeur’s account of narrative identity and of Kendall Walton’s account of the nature of representations, I develop my own model of fiction reading. My account is based on two starting assumptions: first, that human beings are entangled in stories, (...) and second, that emotions are complex and have a narrative structure. I argue that during the reading process, the fiction reader creates her own narratives which contain not only the story provided by the work of fiction, but also event sequences from their own experiential memories. I investigate the creation and the influence of self-conscious emotions which are generated during the reading process, especially when a reader identifies with a fictional character from within. I consider how and why these fiction-induced emotions can continue after the reading is finished, and how these emotions can motivate the reader to engage in self-reflection and to refigure her self-narrative. My account examines a new topic: the interactive influence of fiction reading and the fiction reader’s narrative identity. (shrink)

The scientific worldview is based on laws, which are supposed to be certain, objective, and independent of time and context. The narrative worldview found in literature, myth and religion, is based on stories, which relate the events experienced by a subject in a particular context with an uncertain outcome. This paper argues that the concept of “agent”, supported by the theories of evolution, cybernetics and complex adaptive systems, allows us to reconcile scientific and narrative perspectives. An agent follows (...) a course of action through its environment with the aim of maximizing its fitness. Navigation along that course combines the strategies of regulation, exploitation and exploration, but needs to cope with often-unforeseen diversions. These can be positive (affordances, opportunities), negative (disturbances, dangers) or neutral (surprises). The resulting sequence of encounters and actions can be conceptualized as an adventure. Thus, the agent appears to play the role of the hero in a tale of challenge and mystery that is very similar to the "monomyth", the basic storyline that underlies all myths and fairy tales according to Campbell [1949]. This narrative dynamics is driven forward in particular by the alternation between prospect (the ability to foresee diversions) and mystery (the possibility of achieving an as yet absent prospect), two aspects of the environment that are particularly attractive to agents. This dynamics generalizes the scientific notion of a deterministic trajectory by introducing a variable “horizon of knowability”: the agent is never fully certain of its further course, but can anticipate depending on its degree of prospect. (shrink)