Narrative Theory, Literature, and New Media: Narrative Minds by PDF
Providing an interdisciplinary method of narrative, this booklet investigates storyworlds and minds in narratives throughout media, from literature to electronic video games and truth television, from on-line sadomasochism to oral heritage databases, and from horror to hallucinations. It addresses middle questions of up to date narrative idea, encouraged through contemporary cognitive-scientific advancements: what sort of a development is a storyworld, and how much psychological functioning might be embedded in it? Minds and worlds turn into crucial aspects of creating experience and examining narratives because the ebook asks how story-internal minds relate to the brain exterior to the storyworld, that's, the brain processing the tale. With essays from social scientists, literary students, linguists, and students from interactive media experiences answering those topical questions, the gathering brings different disciplines into discussion, offering new openings for really transdisciplinary narrative concept. The wide-ranging choice of fabrics analyzed within the booklet promotes wisdom at the most recent sorts of cultural and social meaning-making via narrative, helpful for navigating the modern, mediatized cultural panorama. the combo of theoretical mirrored image and empirical research makes this booklet a useful source for students and complicated scholars in fields together with literary experiences, social sciences, artwork, media, and communication.
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Additional info for Narrative Theory, Literature, and New Media: Narrative Minds and Virtual Worlds
Indeed, it is hard not to see the parallels to Genette’s definition of the paradoxical device of narrative syllepsis: “The fact of taking together those anachronic groupings governed by one or another kinship (spatial, temporal, or other)” (Genette 1980, 85). The temporal dimension is even clearer in Genette’s next comment on the device: “Syllepsis […] affects sequence (since by synthesizing ‘similar’ events it abolishes their succession) and duration (since at the same time it eliminates their time intervals)” (Genette 1980, 155).
5. By contrast, all the other stories mimic nonfictional genres: Story one is a diary, story two a series of letters, story four a written autobiography, story five responses to an interviewer, and story six an oral narrative of personal experience told by the protagonist to his grandson. Stories 1, 2, 4, 5 and 6 belong to a first-degree ontological level, while story three, as a fiction within a fiction, belongs to a second-degree level. I am indebted to Brian McHale for pointing out to me the fictional status of story three.
Bloomington: Indiana University Press. M.  1990. Aspects of the Novel. Hammondsworth: Penguin. Genette, Gérard. 1972. Figures III. Paris: Seuil. Herman, David. 2009. Basic Elements of Narrative. Malden, MA: Wiley-Blackwell. Jenkins, Henry. 2006. Convergence Culture: Where Old and New Media Collide. New York: New York University Press. ———. html. Koten, Jirǐ. 2010. ” In Four Studies of Narrative, edited by Bohumil Fort, Alice Jedličková, Jirǐ Koten, and Ondrej Sládek, 47–58. Prague: Institute of Czech Literature.