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)

I make a few comments concerning the way Recanati analyses imaginary situations in two realms : : the realm of the fictional and the realm of the ascription of beliefs.

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)

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)

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)

Glaucon¿s story about the ring of invisibility in Republic 359d-60b is examined in order to assess the wider role of fictional fabrication in Plato¿s philosophical argument. The first part of the article (I) looks at the close connections this tale has to the account of Gyges in Herodotus (1.8-12). It is argued that Plato exhibits a specific dependence on Herodotus, which suggests Glaucon¿s story might be an original invention: the assumption that there must be a lost ¿original¿ to inspire Plato¿s (...) story of the ring has never accommodated the possibility of Plato drawing, perhaps quite directly, from Herodotus. The next section (II) considers the function of that fable within the larger philosophical and aesthetic structure of the Republic. Appreciation of the entire dialogue as an exercise in fiction, as well as philosophy, helps to reveal the ways in which philosophical argument and fictional invention are closely bound up in the formation of Glaucon¿s fabulous anecdote. Finally (III), a reading of Cicero¿s treatment of the story in De Officiis confirms the degree to which philosophical reasoning and fiction can be quite generally interdependent. Although the arguments in Sections II and III are consistent with the opening contention that the ring story was invented by Plato, they do not presuppose it. (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)

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)

The article is an exploration of online reading from the perspective of theories of reading and interpretation based on literary theory and the phenomenology of reading literary text. One of its aims is to show that such theories can make a contribution to our understanding of reading and to our design of online reading spaces. The precursor of this stance is the form of hypertext theory originally proposed by George Landow, which predicted radical changes in reading practices with an impact (...) not only on literature but on education in general. The prediction has been slow to be verified and has been criticized by empirical and psychological studies. In this article, hypertext theory is compared to the phenomenology of reading linear literary text, with particular attention paid to the role played by the notion of a text, work or ‘whole’ which is constructed or produced during the course of reading. I show that the active and engaged reading predicted by hypertext theory is available in reading linear literary text, and to a higher degree than in reading hypertext, and consider ways in which the kinds of reading process which occur in reading literature can be generalized to reading for other higher education purposes. Finally, I speculate as to the range of online technologies that could be used to encourage these reading processes, and propose an alternative online reading space. (shrink)

Through imaginative engagement readers of fiction become, to an extraordinary extent, the narrator’s ‘children’: they often submit themselves to the narrator’s authority without reserve. But precisely because of that, readers are deeply at a loss when their trust is betrayed. This underscores a core function of fiction, namely to evoke emotional response in the reader. In this paper, we hypothesize how a reader’s imaginative engagement can be subjected to narrative frustration due to processing or moral complexity. The types of narrative (...) frustration we consider differ in terms of their sources, and their emotional and behavioral impacts on the reader. Here, we break down these frustrations into their component parts, in an effort to better characterize the different classes of frustrations. We propose that frustrations arise from different combinations of local uncertainty, moral clash and global uncertainty. These sources of frustration in turn explain the reader’s emotional response and their consequent reading behavior as they imaginatively engage with fiction. (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)

To the realists.—You sober people who feel well armed against passion and fantasies and would like to turn your emptiness into a matter of pride and ornament: you call yourselves realists and hint that the world really is the way it appears to you. As if reality stood unveiled before you only, and you yourselves were perhaps the best part of it … But in your unveiled state are not even you still very passionate and dark creatures compared to fish, (...) and still far too similar to an artist in love? And what is ‘reality’ for an artist in love? You are still burdened with those estimates of things that have their origin in the passions and loves of former centuries. Your sobriety still contains a secret and inextinguishable drunkenness. Your love of ‘reality’, for example-—oh, that is a primeval ‘love’ … Subtract the phantasm and every human contribution from it, my sober friends! If you can! If you can forget your descent, your past, your training—all of your humanity and animality. (F. Nietzsche,The Gay Science, Book Two, extract from Section 57). (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)

While many news media organizations offer guidelines about specific journalism practices such as fact checking, attribution, mandatory referrals, etc., to promote quality and integrity of their news products in congruence with the publicly defended principles of journalism ethics such as truthfulness, objectivity, and balance, that news companies of all editorial positions defend, it appears that news media organizations have not benefitted from the more than 30 years of research in Cognitive Linguistics demonstrating how metaphor influences how readers perceive events in (...) the news and how it impacts their attitudes and behavior. Focusing on stock market reporting, this article identifies and explores levels of ethical quality in metaphor production by financial news media providers because improving the ethical quality of specific news reporting mechanisms is one step toward improving the ethical quality of news media organizations as a whole. In this model, high levels of ethical quality, or trustworthiness in metaphor, is the result of achieving high levels of communicative accuracy. Communicative accuracy is the product of metaphorical efficiency, or the lowest ratio of cognitive force—input-output—needed by financial news consumers to process metaphor in order to stimulate predictable entailments, or limited creative and exploratory thought, resulting in high cognitive efficiency. Low ratios of cognitive force is achieved by using metaphors that reduce domain disparity in semantic fields employing domain concepts that are as familiar to the public or as similar in salient semantic features as possible. In the Appendix, this article provides a step-by-step rubric for implementing this model for journalists and editors in the production and editing phases. (shrink)