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Vol. 10 (2002) through current issue
Narrative is the official journal of The Society for the Study of Narrative Literature, the association for scholars interested in narrative. Narrative's broad range of scholarship includes the English, American, and European novel, nonfiction narrative, film, and narrative as used in performance art.
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Interrogating stories told about life after deconstruction, and discovering instead a kind of afterlife of deconstruction, Daniel Punday draws on a wide range of theorists to develop a rigorous theory of narrative as an alternative model for literary interpretation. Drawing on an observation made by Jean-François Lyotard, Punday argues that at the heart of narrative are concrete objects that can serve as “lynchpins” through which many different explanations and interpretations can come together. Narrative after Deconstruction traces the often grudging emergence of a post-deconstructive interest in narrative throughout contemporary literary theory by examining critics as diverse as Jacques Derrida, Gilles Deleuze, Elizabeth Grosz, and Edward Said. Experimental novelists like Ronald Sukenick, Raymond Federman, Clarence Major, and Kathy Acker likewise work through many of the same problems of constructing texts in the wake of deconstruction, and so provide a glimpse of this post-deconstructive narrative approach to writing and interpretation at its most accomplished and powerful.
Theories and Practices
Voices of Israeli Backpackers
Backpacking, or Tarmila’ut, has been a time-honored rite of passage for young Israelis for decades. Shortly after completing their mandatory military service, young people set off on extensive backpacking trips to “exotic” and “authentic” destinations in so-called Third World regions in India, Nepal, and Thailand in Asia, and also Colombia, Ecuador, Peru, Brazil, Chile, and Argentina in Central and South America. Chaim Noy collects the words and stories of Israeli backpackers to explore the lively interplay of quotations, constructed dialogues, and social voices in the backpackers’ stories and examine the crucial role they play in creating a vibrant, voiced community. A Narrative Community illustrates how, against the peaks of Mt. Everest, avalanches, and Incan cities, the travelers’ storytelling becomes an inherently social drama of shared knowledge, values, hierarchy, and aesthetics. Based on forty-five in-depth narrative interviews, the research in this book examines how identities and a sense of belonging emerge on different social levels—the individual, the group, and the collective—through voices that evoke both the familiar and the Other. In addition, A Narrative Community makes a significant contribution to modern tourism literature by exploring the sociolinguistic dimension related to tourists’ accounts and particularly the transformation of self that occurs with the experience of travel. In particular, it addresses the interpersonal persuasion that travelers use in their stories to convince others to join in the ritual of backpacking by stressing the personal development that they have gained through their journeys. This volume is groundbreaking in its dialogical conceptualization of the interview as a site of cultural manifestation, innovation, and power relations. The methods employed, which include qualitative sampling and interviewing, clearly demonstrate ways of negotiating, manifesting, and embodying speech performances. Because of its unique interdisciplinary nature, A Narrative Community will be of interest to sociolinguists, folklore scholars, performance studies scholars, tourism scholars, and those interested in social discourses in Israel.
Authors and Narrators in Literature, Film and Art
In Narrative Discourse: Authors and Narrators in Literature, Film, and Art, Patrick Colm Hogan reconsiders fundamental issues of authorship and narration in light of recent research in cognitive and affective science. He begins with a detailed overview of the components of narrative discourse, both introducing and reworking key principles. Based on recent studies treating the complexity of human cognition, Hogan presents a new account of implied authorship that solves some notorious problems with that concept. In subsequent chapters Hogan takes the view that implied authorship is both less unified and more unified than is widely recognized. In connection with this notion, he examines how we can make interpretive sense of the inconsistencies of implied authors within works and the continuities of implied authors across works. Turning to narrators, he considers some general principles of readers’ judgments about reliability, emphasizing the emotional element of trust. Following chapters take up the operation of complex forms of narration, including parallel narration, embedded narration, and collective voicing (“we” narration). In the afterword, Hogan sketches some subtleties at the other end of narrative communication, considering implied readers and narratees. In order to give greater scope to the analyses, Hogan develops case studies from painting and film as well as literature, treating art by Rabindranath Tagore; films by David Lynch, Bimal Roy, and Kabir Khan; and literary works by Mirabai, Harriet Beecher Stowe, Ernest Hemingway, William Faulkner, Margaret Atwood, Ngugi wa Thiong’o, and Joseph Diescho.
The Discursive Authority of Science and Technology
Narrative Experiments was first published in 1989. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
In Narrative Experiments, Gayle Ormiston and Ralph Sassower bring a refreshing perspective to the domains of inquiry we call "science" and "technology," asserting that traditional definitions (like classical idealism and materialism) fail to suggest the rich and complex cultural/linguistic interplay occurring between them. This context is not merely a background, nor is Ormiston and Sassower's just one more interdisciplinary approach to the subject. Instead, their book argues, science, technology, and the humanities developed in concert with one another, and their reciprocity obliterates all traditional disciplinary boundaries.
Ormiston and Sassower build their case by devoting a chapter to each of the four themes emerging from the etymological introduction. First, they look at the role fiction and other literary modes play in developing our attitudes toward science and technology -- how the visions of Bacon, Hobbes, Galileo, Rousseau, Mary Shelley, and Orwell evoke both anxiety and hope. Next, they examine a series of eighteenth-century "fictions" -- the Enlightenment texts of Kant, Rousseau, and Hume -- and the elevated (but ambiguous) status science and technology associated with them. The last two chapters evaluate modes of discursive authority and its dissemination -- classical and modern extralinguistic approaches; the contemporary-linguistic view espoused by Rorty, Quine, and others; and their own avowedly experimental journey through the labyrinths of cultural and linguistic usage.
Comic Tales by Phillippe de Vigneulles
Philippe de Vigneulles (1471--1528), cloth merchant and hosier from the city of Metz, wrote a collection of comic short stories which he called Cent Nouvelles ou contes joyeux. The work constitutes an important step in the development of the nouvelle form in France. In an extended explication, Ms. Kotin analyzes the tales for the modern reader, historically, generically, structurally, and in terms of their human significance.
Inscribed in a tradition of short narrative forms in late medieval and early Renaissance France, these tales remake or recast traditional narrative patterns into new forms. Philippe de Vigneulles's tales constitute a "recit" of human life, supported by the sympathetic presence of the author and his beloved city of Metz.
Daphne Marlatt and Nicole Brossard
What does it mean to tell a story from a woman’s point of view? How have Canadian anglophone and francophone writers translated feminist literary theory into practice?
Avant-garde writers Daphne Marlatt and Nicole Brossard answer these, and many more questions, in their two groundbreaking works, now made more accessible through the careful, narratological readings and theoretical background in Narrative in the Feminine.
Susan Knutson begins her study with an analysis of the contributions made by Marlatt and Brossard to international feminist theory. Part Two presents a narratological reading of How Hug a Stone, arguing that at the deepest level of narrative, Marlatt constructs a gender-inclusive human subject which defaults not to the generic masculine but to the feminine. Part Three proposes a parallel reading of Picture Theory, Brossard’s playful novel that draws us into (re-) readings of many other texts written by Brossard, Barnes, Wittig, Joyce, de Beauvoir, Homer...to name a few. Chapter 12 closes with a reflection on the expression <’e>criture au f<’e>minin — a Qu<’e>b<’e>cois contribution to an international theoretical debate.
Readers who care about feminist writing and language theory, and students and teachers of Canadian literature and critical and queer studies, will find this book invaluable for its careful readings, its scholarly overview, and its extension of the feminist concept of the generic. Not least, the study is a guide to two important works of the leading experimental writers of Canada and Quebec, Daphne Marlatt and Nicole Brossard.
Vol. 1 (2011) through current issue
Narrative Inquiry in Bioethics (NIB) provides a forum for exploring current issues in bioethics through the publication and analysis of personal stories, qualitative and mixed-methods research articles, and case studies. Articles may address the experiences of patients and research participants, as well as health care workers and researchers. NIB is dedicated to fostering a deeper understanding of bioethical issues by engaging rich descriptions of complex human experiences. While NIB upholds appropriate standards for narrative inquiry and qualitative research, it seeks to publish articles that will appeal to a broad readership of health care providers and researchers, bioethicists, sociologists, policy makers, and others.