Novels like Fight Club or American Psycho are said to be instances of unreliable narration: the first person narrator presents an evidently distorted picture of the fictional world. The film adaptations of these novels are likewise said to involve unreliable narration. I resist this extension of the term ‘unreliable narration’ to film. My argument for this rests on the observation that unreliable narration requires a personal narrator while film typically involves an impersonal narrator. The kind of ambiguous story-telling that we (...) find in literary fiction with unreliable narrators, where for certain descriptions it is unclear whether what we’re told is an accurate account of what’s happening in the story world or not, can instead be achieved by conventionalized filmmaking techniques for reporting the contents of mental states, like the point of view shot, but especially the more ambiguous blended perspective shot. (shrink)

Despite the fact that cinema and animation have common features, one of the fundamental differences between them is that animation uses metaphors much more freely. This current study explores this feature of animation and analyzes how the use of metaphors affects the narrative and plot structure of full- and short-length animation. The study is based on the narrative analysis of eight films made by Pixar Animation Studio, as a successful company that produces both full- and short-length animated films. The concept (...) of monomyth, which was formulated by Joseph Campbell, in 1949, and had a significant impact on the contemporary film industry, allows me to describe the structure of each of the selected examples. Such a formal approach to describing the plot structure, in turn, makes it possible to trace the impact of the extended metaphor on these plots. As a result, this study reveals and describes three main types of creative metaphors in the context of storytelling: supportive, action-forming and destructive. It appears that the supportive metaphor is used in all of the examined films, while action-forming and destructive metaphors relate to short-length animation only. The individual features of using these types of metaphors in full- and short-length animation are revealed in the concluding parts of the research. (shrink)

The emphasis on the unique self in the Romantic period resulted in representations of romantic love as an aspect of psychological depth. However, in Maria Edgeworth’s novel, Belinda, love is...

In many films, story is presented in an order different from chronological. Deviations from the chronological order in a narrative are called anachronies. Narratological theory and the evidence from psychological experiments indicate that anachronies allow stories to be more interesting, as the non-chronological order evokes curiosity in viewers. In this paper we investigate the historical dynamics in the use of anachronies in film. Particularly, we follow the cultural attraction theory that suggests that, given certain conditions, cultural evolution should conform to (...) our cognitive preferences. We study this on a corpus of 80 most popular mystery films released in 1970–2009. We observe that anachronies have become used more frequently, and in a greater proportion of films. We also find that films that made substantial use of anachronies, on average, distributed the anachronies evenly along film length, while the films that made little use of anachronies placed them near the beginning and end. We argue that this can reflect a functional difference between these two types of using anachronies. The paper adds further support to the argument that popular culture may be influenced to a significant degree by our cognitive biases. (shrink)

Coordinating different viewpoints is an essential part of human interaction. Languages have evolved conventional ways of supporting this process: many linguistic items are somehow involved in viewpoint management, ranging from morphological elements and lexical units to grammatical constructions and narrative patterns. In this paper we propose a conceptual model for analysing how particular instances of such linguistic items can be used to coordinate the viewpoints of signallers, addressees, and third parties involved in an interaction event. In essence, our model augments (...) Langacker’s “viewing arrangement” through the addition of a third dimension to the existing two. We discuss the details of our model using a range of examples from spoken discourse, newspaper articles, and literary fiction, and end by placing it in broader discussions on human social cognition. (shrink)

We propose to analyze well-known cases of "imaginative resistance" from the philosophical literature (Gendler, Walton, Weatherson) as involving the inference that particular content should be attributed to either: (i) a character rather than the narrator or, (ii) an unreliable, irrational, opinionated, and/or morally deviant "first person" narrator who was originally perceived to be a typical impersonal, omniscient, "effaced" narrator. We model the latter type of attribution in terms of two independently motivated linguistic mechanisms: accommodation of a discourse referent (Lewis, Stalnaker, (...) Kamp) and 'cautious' updating as a model of non-cooperative information exchange (Eckardt). (shrink)

How can providing less textual information about a fictional character make his or her mind more transparent and accessible to the reader? This is the question that emerges from an empirical study of reader response conducted by Kotovych et al. Taking my cue from this study, I discuss the role of implied information in readers’ interactions with characters in prose fiction. This is the textual strategy I call ‘character-centered implicature.’ I argue that the inferential work cued by implicature creates an (...) intersubjective dynamic analogous to what philosophers Zahavi and Rochat discuss under the heading of ‘experiential sharing.’ Effectively, readers complement the textual evocation of mind by drawing on their own past experiences, which leads to a distinctive first-person plural perspective—a sharing of cognitive resources that is responsible for the perceived transparency of the character’s mind. While this experiential sharing may result in empathetic perspective-taking, not all instances of empathy for fictional characters involve sharing. (shrink)

This exegesis questions and explores the types of identities that are emerging as a result of human engagement with contemporary communications and media technology. These identities are communicated, shaped and defined by the way we appropriate and engage with a smorgasbord of communications and media consumption technologies which merge in our imaginations to form a technosocial mediascape. As artist and teacher, consumer and prosumer, I participate in the technosocial mediascape, along with colleagues, students, artists, friends and family members. As we (...) produce, communicate and ultimately co-create that technosocial environment, how are we changed by this experience? We contribute to a diverse and globally circulating, but paradoxically transient parade of data and media that apparatuses and humans together bring into existence. How does this mediascape impact on human ontology and sociology? What are the different ‘positions’—relationships with the mediascape—that emerge? My method derives from analysis of my own experience as an engaged and flexible ‘position-taker’ within the technosocial mediascape. I analyse my own creative practice with reference to a range of modernist, postmodernist and media theories. The technosocial enshrines the idea that technology and human behaviour are not separable, and draws on many theoretical sources, including phenomenology, the philosophy of language, design theory and digital media theory. All media, and mediums, are technosocial, because they impact on the praxis of identity. However, a range of contemporary media and mediums are more explicitly technosocial, and that is where my focus lies. I will suggest that the role of language in technosocial contexts is peculiar, important and under-theorised. Our ‘linguistic apparatuses’ offer an alternate concept of technology to the ‘heavy modernism’ of Martin Heidegger. I will explore ways in which technosocial engagement privileges fluid identities which drift in and out of different but co-existing realities. Various types of ‘immersion’—some neo-baroque and some neo-romantic—contribute to technosocially-engaged identity construction. Thus, our engagement with the technosocial mediascape challenges received ideas about personal identity, and indeed, the nature of the real. (shrink)

Brand Equity Planning with Structuralist Rhetorical Semiotics furnishes an innovative conceptual model and methodology for brand equity planning, with view to addressing a crucial gap in the marketing and semiotic literatures concerning how advertising multimodal textual elements may be transformed into brand associations, with an emphasis on rhetorical relata as modes of connectivity between a brand’s surface and depth grammar. The scope of this project is inter-disciplinary, spanning research areas such as brand equity, structuralist semiotics, textual semiotics, visual and film (...) semiotics, multimodal rhetoric, film theory, psychoanalysis. The proposed connectionist conceptual model of the brand trajectory of signification is operationalized through a methodological framework that encompasses a structuralist semiotic interpretative approach to the textual formation of brand equity, supported by quantitative content analysis with the aid of the software Atlas.ti and the application of multivariate mapping techniques. (shrink)

Emotions are Janus-faced: their focus may switch from how a person is feeling deep inside her, to the busy world of actions, words, or gestures whose perception currently affects her. The intimate relation between the ‘inside’ and the ‘outside’ seems to call for a redrawing of the traditional distinction of mental states between those that can look out to the world, and those that are, supposedly, irredeemably blind.

This paper proposes an understanding of literary narrative as a form of social cognition and situates the study of such narratives in relation to the new comprehensive approach to human cognition, enaction. The particular form of enactive cognition that narrative understanding is proposed to depend on is that of participatory sense-making, as developed in the work of Di Paolo and De Jaegher. Currently there is no consensus as to what makes a good literary narrative, how it is understood, and why (...) it plays such an irreplaceable role in human experience. The proposal thus identifies a gap in the existing research on narrative by describing narrative as a form of intersubjective process of sense-making between two agents, a teller and a reader. It argues that making sense of narrative literature is an interactional process of co-constructing a story-world with a narrator. Such an understanding of narrative makes a decisive break with both text-centered approaches that have dominated both structuralist and early cognitivist study of narrative, as well as pragmatic communicative ones that view narrative as a form of linguistic implicature. The interactive experience that narrative affords and necessitates at the same time, I argue, serves to highlight the active yet cooperative and communal nature of human sociality, expressed in the many forms than human beings interact in, including literary ones. (shrink)

This essay explores the nature of narrative representations of individual lives and the connection between these narratives and personal good. It poses the challenge of determining how thinking of our lives in story form contributes distinctively to our good in a way not reducible to other value-conferring features of our lives. Because we can meaningfully talk about our lives going well for us at particular moments even if they fail to go well overall or over time, the essay maintains that (...) our good must consist in something more than an accumulation of good discrete moments. Since persons have the capacities to reason, remember, and imagine, our good depends on a larger view of our lives that integrates its particular moments in a narrative. That narrative provides shape and texture to our lives. Storytelling serves to connect the events of our lives to each other, and to explain why the meaning and value of past events or features of our lives can shift as the life, and hence the story of the life, continues to unfold. The essay concludes that narrative enables us to see our lives in ways that support, encourage, or promote our self-concept and self-worth as agents who have controlling authority over our own lives. (shrink)

The ArgumentIn this paper three canonical studies of the scientific revolution are subjected to narratological analysis. Underlying this analysis is the assumption that in any single product of historical writing it is possible to distinguish, for analytical purposes, between three levels of reference: the object of the text — the events; the representation of the events — the narrative; and the text in which a story is represented by means of narrative. Through texts one learns about historical events, but also (...) about the process of producing the texts. Techniques of representation are means of production of texts that represent, in addition to the events, also the producer and his or her authority. The distinction made for any specific text allows the reader to play the two levels against each other in order to create a space within which historical writing should be criticized. Such criticism may draw attention to the difficulty of controlling the meaning of historical stories, and to the need to analyze narrative structures in order to appreciate the ideological changes of historical texts. (shrink)

Starting from the importance of the figure of the parrhesiastes — the political and therapeutic truth- teller— for Foucault’s understanding of the care of the self, this paper traces the political figuration of the analogy between philosophers and physicians on the one hand, and rhetors and disease on the other in Plato’s Gorgias. I show how rhetoric, in the form of ventriloquism, infects the text itself, and then ask how we account for the effect of the “ contaminated ” philosophical (...) dialogue on our readerly health. Is the text placebo, vaccine, or virus? All of these options, I argue, complicate Foucault’s prescription for parrhesia, requiring us to think anew the continuing political ramifications of the metaphor of care. (shrink)

Toward the midpoint of theOTJocasta, in a bid to convince Oedipus of the unreliability of oracles, recalls the old prophecy that Laius was destined to die at the hands of his son. Jocasta points out that this prediction proved doubly mistaken, since Laius was killed by foreign robbers at a crossroads and his newborn child was exposed on the desolate mountainside. To Jocasta's surprise, Oedipus responds with agitation. He questions her closely about the circumstances of Laius' death and then embarks (...) on an autobiographical narrative that touches on his early life in Corinth and his journey to Delphi, reaching its rhetorical climax with the description of his own fateful encounter at the very crossroads mentioned by Jocasta. (shrink)

All editions and translations of Homer'sIliadpresent the epic as a series of twenty-four segments always marked off in the same places. In this respect theIliadconforms to, and seems even to originate, a practice in which narratives of any considerable length are almost always presented in marked segments, usually calledchapters.Similarly, dramas, except very short ones, usually run as a series ofactswhose dimensions are determined in the composition. Acts may be marked by curtains, intermissions or briefer pauses, or other variations in the (...) performance: in ancient Greek drama the segmentation is unmistakeably marked by the placement of choral lyrics. It is not exactly clear why the chapter and the act should be so indispensable, but authors and audiences alike know intuitively that they are. Yet many scholars since antiquity have believed that theIliadand theOdysseyoriginally lacked marked segmentation, and that the now-familiar presentation was imposed upon them later by someone other than their composer. Even today, when few scholars see profit in analyzing theIliadandOdysseyinto earlier and later strata, the so-called 'book divisions’ continue to offer a tempting target for analytic criticism. (shrink)

Narratives are an integral part of human expression. In the graphic form, they range from cave paintings to Egyptian hieroglyphics, from the Bayeux Tapestry to modern day comic books (Kunzle, 1973; McCloud, 1993). Yet not much research has addressed the structure and comprehension of narrative images, for example, how do people create meaning out of sequential images? This piece helps fill the gap by presenting a theory of Narrative Grammar. We describe the basic narrative categories and their relationship to a (...) canonical narrative arc, followed by a discussion of complex structures that extend beyond the canonical schema. This demands that the canonical arc be reconsidered as a generative schema whereby any narrative category can be expanded into a node in a tree structure. Narrative “pacing” is interpreted as a reflection of various patterns of this embedding: conjunction, left-branching trees, center-embedded constituencies, and others. Following this, diagnostic methods are proposed for testing narrative categories and constituency. Finally, we outline the applicability of this theory beyond sequential images, such as to film and verbal discourse, and compare this theory with previous approaches to narrative and discourse. (shrink)

This article develops a concept of lyrical sociology, a sociology I oppose to narrative sociology, by which I mean standard quantitative inquiry with its "narratives" of variables as well as those parts of qualitative sociology that take a narrative and explanatory approach to social life. Lyrical sociology is characterized by an engaged, nonironic stance toward its object of analysis, by specific location of both its subject and its object in social space, and by a momentaneous conception of social time. Lyrical (...) sociology typically uses strong figuration and personification, and aims to communicate its author's emotional stance toward his or her object of study, rather than to "explain" that object. The analysis considers many examples and draws on literary criticism, the philosophy of time, and the theory of emotion. It also addresses contemporary debates in ethnography. (shrink)

This paper addresses the question of the relation between mortal and immortal time in the Iliad as it is represented by the physical act of falling. I begin by arguing that falling serves as a point of reference throughout the poem for a concept of time that is specifically human. It is well known that mortals fall at the moment of death in the poem, but it has not been recognized that the movement of the fall is also connected with (...) the time of birth, aging, and generation. In light of the significance of falling for mortals, I then go on to examine the problematic case of two particular immortals who fall in the Iliad. When Hephaestus tumbles down to earth from Olympus, and when Ares is knocked flat on the battlefield, both gods, I argue, also “fall into” human time. This complicates their status as ageless and eternal beings, and draws into question the different temporal registers at work in the narrative . The single action of falling brings together several key concepts in the poem which hinge on the issue of the separation between the mortal and immortal spheres in the Iliad. (shrink)

Abstract Narrative thinking has a very important role in our ordinary everyday lives?in our thinking about fiction, about the historical past, about how things might have been, and about our own past and our plans for the future. In this paper, which is part of a larger project, I will be focusing on just one kind of narrative thinking: the kind that we sometimes engage in when we think about, evaluate, and respond emotionally to, our own past lives from a (...) perspective that is external to the remembered events. Being able to do this is an essential part of what it is to have a narrative sense of self. Sometimes, I will suggest, we fail to have such responses?we are not able to think and feel as we should about an episode in our lives. On such occasions, there is a gap in our narrative sense of self?a gap which opens up especially where the past is in some sense tragic or traumatic. The desire to close this gap is what I will call a desire for emotional closure. (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)

According to many realist philosophers of fiction, one needs to posit an ontology of existing fictional characters in order to give a correct account of discourse about fiction. The realists' claim is opposed by pretense theorists for whom discourse about fiction involves, as discourse in fiction, pretense. On that basis, pretense theorists claim that one does not need to embrace an ontology of fictional characters to give an account of discourse about fiction. The ontolog-ical dispute between realists and pretense theorists (...) is mainly a dispute in the realm of the phi-losophy of language concerning the status relative to pretense of discourse about fiction. Realists are persuaded that there is a sharp line between discourse in fiction and discourse about fiction while pretense theorists deny there exists such a line. I suggest that realists may have a wrong picture of discourse in fiction since, in many cases, discourse in fiction already contains many occurrences of discourse about fiction. Consequently, discourse about fiction, instead of ending fiction, should be regarded, following pretense theorists, as adding extra lay-ers of fiction. (shrink)

The article is devoted to the consideration the problem of the phenomenon of an unreliable narration in the British intellectual prose of the second half of the twentieth century. The meaning of the words “narrator”, “unreliable narration” is investigated. The unreliable narration is reviewed based on the example of the novel “Rites of Passage” by Golding. It is noted that the aforementioned work has a vibrant didactic component. It has been found that Golding uses a wide range of narrative techniques. (...) The emphasis is made on the critical analysis by other literary scholars of the novel “Rites of Passage” by Golding. The use of narrative strategies in accordance with the scientific classification by Genette is investigated. The markers of unreliability of the narrators are emphasized. Attention is focused on the fact that a high degree of unreliability is based on the limited knowledge of the heroes, direct participation in the events, a problematic system of values. It is noted that the unreliability of narration in the novel “Rites of Passage” by Golding forces the reader to doubt not only the narrator but oneself. The use of the narrative method in the intellectual prose of the British writer Iris Murdoch is investi-gated. It has been found that the novel “The Black Prince” by Iris Murdock is one of the best examples of an unreliable narration. The genre specifics of the novel are emphasized, which combines the forms of the diary, of the memoir and of the confession. In addition, Murdoch creates a narrative strategy, which combines signs of various forms of “I am the narrator” within the framework of one narrative. In addition, “The Black Prince” is a unique model of modern artistic and philosophical metatext genre formation. (shrink)

The last two decades of the new millennium have witnessed a renaissance of interest in the topic of narrative in the view on language as an artificially created system of signs, expressing a feeling/perceiving and speaking subject. This paper synthesizes the growing bulk of work in linguistics and related disciplines (e.g. cognitive linguistics, literary theory, AI) commanded by the centrality of the writer/speaker/performer of the story in an attempt to approach the process of world creation, by comparing narrative models of (...) story-generating programs, based on the frames and scenarios simulating sentence grammar. In this way, artificial intelligence techniques/algorithms in story generation incorporate planning/solving strategies and grammar production, rooted in the narrative structuralist framework (Vladimir Propp). Subsequently, formal and structural limitations of the approach to the question of narration generation in AI disclose the conceptual key problems of artificial narrative intelligence (AnI). Considering examples of patterns in story generation programs and corresponding fiction narrative models, this paper compares computational linguistic and philological approaches to narrative construct within literary theory of story world creation. (shrink)

I first ask what it is to make up a story. In order to answer that question, I give existence and identity conditions for stories. I argue that a story exists whenever there is some narrative content that has intentionally been made accessible. I argue that stories are abstract types, individuated by the conditions that must be met by something in order to be a properly formed token of the type. However, I also argue that the truth of our story (...) identity attributions---sentences like, "Peter Jackson's Lord of the Rings is the same story as JRR Tolkien's Lord of the Rings''---are relative to their context of use, so that the same attribution of identity might be true in one context or false in another because of a change in what's being said about the works in the differing contexts. From those existence and identity conditions, I draw the conclusions that story is best understood to be a phase sortal of some abstract types, and that what it is to make up a story is to identify a type of narrative representation and its content, such that the content is neither based on actual events nor on the content of other stories to an objectionable degree. In chapter 2, I ask what it is for a story to be complete. I argue for the general meta-thesis I call "Completion Pluralism", viz. that there are many kinds of artwork completeness, many corresponding senses of 'complete', and no kind of artwork completeness is objectively more important than any other. I give a pair of arguments against those who would deny Completion Pluralism, endorsing Completion Monism instead. First, I show how Monistic analyses of the one (or one most important) kind of artwork completeness fail. I also show that each Monistic theory's failure is contingent on the assumption of Completion Monism: the denial of Completion Monism dissolves each argument against the extensional adequacy of extant theories of artwork completeness. I argue that this is all best explained by the idea that Completion Pluralism is true. Second, I argue that Completion Pluralism fits best with the variety of interests that we bring to questions about artwork completeness: there is no single or overriding concern we have when we want to know whether an artwork is complete. We shouldn't expect completeness to be a single sort of thing, then. I show how to put Completion Pluralism to work by identifying different kinds of artwork completeness in artworks. Finally, I introduce a new kind of completeness particular to stories, what I call "narrative completion", and show how it's distinct from other kinds of completeness discussed. In chapter 3, I argue that the distinction between fictional and non-fictional stories is the degree to which stories are made-up. In short, a fictional story is a made-up story. I first provide a couple desiderata for thinking about theories of fiction, then show how the two most popular extant theories of fiction---the prop theory and the genre theory---fall short in meeting one or more of those desiderata to some extent. I then show how the theory that fictions are made-up stories better meets the desiderata, using my account of what it is to make up a story from chapter 1. I turn to explicitly ontological matters in chapter 4. Addressing the question of what stories are, I show that both the theses that they are eternal and immutable and that they are created and historical seem plausible for independent reasons. I discuss a schema of an argument some philosophers who hold to the latter view (those I call "Creationists") attempt to give for their view. However, I show how those who hold to the view that stories are eternal and immutable ("Platonists") can account for all the same appearances as the Creationists, usually at least as well and sometimes with a better accounting. Similar, deductive arguments for Platonism will give rise to similar responses from the Creationist, however. In the end, then, the style of argument in particular is unlikely to advance the discussion much. Finally, I attempt to advance the discussion by building an abductive case for Platonism. First, I vindicate a particular metaontological methodology for the debate at hand, a methodology that allows for "revisionary" outcomes in our ontologies of art objects. Second, I build a case for Platonism by arguing that it best explains a number of features of stories discussed in the previous chapters. Moreover, I argue that Creationism is committed to an implausible account of how some abstract objects come into existence. Given the combination of those facts, I argue that we should prefer Platonism to Creationism. (shrink)

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

This article argues that narrativity has the potential to be a key hermeneutical concept in ecumenical theology. Instead of pursuing a complex elaboration of the notion, it will seek to explore various aspects of narrativity. The thesis will be explicated in three major steps, consecutively discussing culture as the general setting of narrativity, explicating narrativity as a concept that can helpfully address some of the major issues in ecumenical theology and proposing transformation as the ultimate horizon of the faith and (...) practice of the Christian koinonia. (shrink)

The purpose of this article is to analyze the connections of spatial relations and settings with narrative, and the presentation of these relations in Jüri Ehlvest’s texts. Distinctions are made between textual space (as designation, description, or rhetorical presentation) and fictional space (the space in which narrative action takes place and the site of the denouement of events). Fictional space can be expressed as textual space in one of the four following ways: (a) perceived space (b) experienced space (c) logical (...) space (d) alogical space. The multilayeredness of Ehlvest’s texts, their fragmentariness and dislocated reality, entail a complicated reception. In contrast, however, the geographical space represented in the texts is generally quite clear and accessible, with the effect of seeming real and humanly possible. Indeed, specific spatial elements are one of the sources of the verisimilitude and plausibility of Ehlvest’s texts. For the most part, the place where ehlvestian narrative plays itself out is a clear topographical environment, usually an interior; the textual representation of spaces is minimalist, avoiding descriptions, and with practically no impression of movement. In addition to representation of places, rooms, houses, and open space using ordinary, direct, (yet very minimalist) means, several more indirect strategies of creating space can be found in Ehlvest’s texts. This article calls attention to some characteristic devices from this indirect repertoire, grouping them as follows: things; window and picture; repetition, fragment, and mirror; body and emptiness. Of the four types of textual space mentioned above, the one most characteristic of Ehlvest’s stories is experienced space, which could also be described as haptic space of experience. However, due to the fragmentariness and bricolage typical of Ehlvest, there are certainly also plenty of examples of the other types, particularly perceived and alogical space. Many transformations can be noted when comparing Ehlvest’s earlier and later texts. First, many earlier images disappear (tree, mill, bridge). Second, the first-person protagonist’s bodily experience becomes more important (eating, illness, pain). Third, the borders between consciousness and the world become nebulous, yet the boundary between the protagonist and his environment does not disappear completely. Neither does the text become a meandering between consciousness and the world. Indeed, narrative emphasis shifts to this very boundary, and to the possibility of its erasure. As such, however, the plausibility of the space where action takes place is maintained, much as in Ehlvest’s earlier stories. (shrink)

By revealing the centrality of stories to action, to social life and to inquiry together with the implicit assumptions in polyphonic stories about the nature of humans, of life and of physical reality, this paper examines the potential of stories to transform civilization. Focussing on the failure of environmentalists so far in the face of the global ecological crisis, it is shown how ethics and political philosophy could be reconceived and radical ecology reformulated and reinvigorated by appreciating and exploiting the (...) potential of stories. This could enable radical ecologists to effect the major social and economic changes necessary to meet the global ecological crisis. What we need, it is argued, is a new, polyphonic grand narrative. (shrink)

Recent discussions about the cognitive value of fiction either rely on a background theory of reference or a theory of imaginative pretense. I argue that this reliance produces a tension between the two central or defining claims of literary cognitivism that: (1) fiction can have cognitive value by revealing or supporting insights into the world that properly count as true, and (2) that the cognitive value of a work of fiction contributes directly to that work’s literary value. I address that (...) tension by looking at the formal devices present in a work of fiction that enable it to realize the fictional world described by a text. When we focus on those formal elements, we can identify a connection between a work of literary fiction and the insights we gain through an encounter with the fictional world that work realizes. (shrink)

In this article I develop tools for analyzing the identities that emerge in qualitative material. I approach identities as historically, socially and culturally produced subject positions, as processes that are in a constant state of becoming and that receive their temporary stability and meaning in concrete contexts and circumstances. I suggest that the identities and subject positions that materialize in qualitative material can be analyzed from four different perspectives. They can be approached by focusing on (1) classifications that define the (...) boundary lines between ‘us’ and ‘them’, as (2) participant roles that refer to the temporal aspect of subject positions and outline their meaning for action, as (3) structures of viewpoint and focalization that frame meaning and order to opinions and experiences of the world, and as (4) interactive positions that articulate the roles and identities taken by the participants of communication. (shrink)

Medthics is an online graphic novel series comprising of six issues . What is often viewed as pop culture escapism, this "comic book" series tackles the complex world of medicine and its moral/ethical intricacies. From topics about physician identity formation to humane patient care, Medthics brings to the forefront subject matter essential to clinical practice. The art of medicine is depicted through stylized characters as they live their lives through a fictional world inspired by true events.

Aunque muchos lectores de las novelas de Unamuno notan que el estilo de su primera novela, “Paz en la guerra” (1897), es bastante tradicional y que, por consiguiente, difiere mucho del estilo de las novelas que don Miguel escribe después, también tiene elementos que la vinculan claramente sus novelas más tardías. Uno de estos es el manejo del tiempo, el cual hace que el tiempo se detenga y produce lo que Henri Bergson llamaría la “virtualización” del tiempo. El tiempo también (...) se detiene y se virtualiza en otras novelas de Unamuno—en particular, “Niebla”. Por ejemplo, en “Niebla” varias anomalías temporales revelan el deseo de Unamuno de detener el tiempo y eternizar el momento para así escapar la muerte y existir perpetuamente, un deseo también presente en “Paz en la guerra”. Por lo tanto, el presente muestra que, por su manejo particular del tiempo, “Paz en la guerra” se vincula claramente a novelas más experimentales de Unamuno. (shrink)