Project MUSE®: Storyworlds: A Journal of Narrative Studies - Latest Articles
https://muse.jhu.edu/journal/505
Project MUSE®: Latest articles in Storyworlds: A Journal of Narrative Studies.daily12026-05-16T00:00:00-05:00text/htmlen-USVol. 1 (2009) through current issueLatest Articles: Storyworlds: A Journal of Narrative StudiesTWOProject MUSE®Storyworlds: A Journal of Narrative Studies2156-72041946-2204Latest articles in Storyworlds: A Journal of Narrative Studies. Feed provided by Project MUSE®A Typology of Literary Journalism
https://muse.jhu.edu/article/963513
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Reportage (also known as literary journalism) is a journalistic genre that distinguishes itself from news journalism by a narrative form.1 This means that events are not reported as completed, as in news articles, but as ongoing; the reader is invited to follow what is happening step by step. A style like that implies two kinds of representation: mimetic representation (a scenic representation style, also known as showing), and diegetically narrating representation (also known as one kind of telling and opposed to diegetically informing representation, the neutral style that is standard in news language) (Genette 1972/1980: 162–66; Booth 1961/1983: 40, 50, 94; Aare 2021: 74).2 The narrator here becomes a personal
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/505/image/coversmallA Typology of Literary Journalism2025-06-26text/htmlen-USA Typology of Literary Journalism2025-06-262025TWOProject MUSE®1148672026-05-16T00:00:00-05:002025-06-26Tensions and Resolutions: Plot's Musicality, or Musical Plot?
https://muse.jhu.edu/article/963514
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I was first compelled to translate Baroni's fine article because I wanted to assign it to students, most of whom have little or no French, as part of a general discussion of what I have come to call "narrativity without narrative." I was becoming interested in how certain non-narrative texts—from plotless or essayistic fiction to scientific articles and diagrams—manage to elicit a feeling of forward momentum during the act of reading, despite the lack of an evident "story" (fabula). My idea is that a text in which "nothing happens" can still have a plot, understood here as a perhaps eccentric version of Peter Brooks's definition: "the principle of interconnectedness and intention which we cannot do without in
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/505/image/coversmallTensions and Resolutions: Plot's Musicality, or Musical Plot?2025-06-26text/htmlen-USTensions and Resolutions: Plot's Musicality, or Musical Plot?2025-06-262025TWOProject MUSE®765782026-05-16T00:00:00-05:002025-06-26From Victim to Victor through the Transformative Power of Stories: How Survivors Make Sense of Human-Trafficking Experiences
https://muse.jhu.edu/article/963515
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"There is no greater agony than bearing an untold story inside you," wrote Maya Angelou (2009: 191). This article will argue that victimhood can be turned into agency1 through the trans-formative power of stories by relying on two scholarly frameworks. The first is narrative victimology, which argues for the power of narration in the aftermath of victimization. The second is feminist standpoint theory, which argues that marginalized communities have unique insights to share with the world.Stories have a beginning, a middle, and an end. However, in the face of adversity, people oftentimes lose, distance themselves from, or break this temporal connection. Experiences of victimization may disrupt the continuity of the
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/505/image/coversmallFrom Victim to Victor through the Transformative Power of Stories: How Survivors Make Sense of Human-Trafficking Experiences2025-06-26text/htmlen-USFrom Victim to Victor through the Transformative Power of Stories: How Survivors Make Sense of Human-Trafficking Experiences2025-06-262025TWOProject MUSE®865072026-05-16T00:00:00-05:002025-06-26Plants and the Anthropomorphic Bias of Narrative: Experientiality and Time Lapse in Contemporary Nature Documentary
https://muse.jhu.edu/article/963516
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Narratology and narrative studies have recently seen a renewed interest in representations of the nonhuman. The primary focus of these investigations has been on animals and "deep-time phenomena" such as cosmic events and climate change. But to what degree is narrative, which is often said to be inherently anthropomorphic, suited for the nonhuman representation of plants? This article will argue that plants have an unique relationship with the anthropomorphic bias of narrative, as they need to bridge both a temporal and a cognitive gap to fit within what is generally recognized as a narrative, but new modes of audiovisual representation are offering novel ways of narrativizing plant life.To examine plant-centric
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/505/image/coversmallPlants and the Anthropomorphic Bias of Narrative: Experientiality and Time Lapse in Contemporary Nature Documentary2025-06-26text/htmlen-USPlants and the Anthropomorphic Bias of Narrative: Experientiality and Time Lapse in Contemporary Nature Documentary2025-06-262025TWOProject MUSE®763142026-05-16T00:00:00-05:002025-06-26Narrative Research Now: Critical Perspectives on the Promise of Storytelling ed. by Ashley Barnwell and Signe Ravn (review)
https://muse.jhu.edu/article/963517
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Narrative Research Now: Critical Perspectives on the Promise of Storytelling (2024), edited by Ashley Barnwell and Signe Ravn, aims to address some critical concerns identified within the field of narrative research. This field is identified as precarious due to narratives' capacity to create and communicate meaning, which can be used not only to cultivate empathy, collectiveness, and social justice but also to spread misinformation, obscure reality and shift focus from structural limitations in society. The book means to highlight issues of defining narrative in a diverse, interdisciplinary field; how to address power differentials and the politics of representation; the rise of fake news and conspiracy theories;
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/505/image/coversmallNarrative Research Now: Critical Perspectives on the Promise of Storytelling ed. by Ashley Barnwell and Signe Ravn (review)2025-06-26text/htmlen-USNarrative Research Now: Critical Perspectives on the Promise of Storytelling ed. by Ashley Barnwell and Signe Ravn (review)2025-06-262025TWOProject MUSE®87682026-05-16T00:00:00-05:002025-06-26Slow Narrative across Media ed. by Marco Caracciolo and Ella Mingazova (review)
https://muse.jhu.edu/article/963518
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The opening paragraph of Slow Narrative across Media points out that "slowness is often considered detrimental to innovation and change" and acknowledges that "technological development" and "modernity's affective and material investment in a culture of speed" promoted early-twentieth-century interest in speed and acceleration (1). According to thinking about innovation that prioritizes speed, it is rapid technological advancements that fuel progress, most recently ushering in a new digital age dominated by advances in computing hardware and software.Slow Narrative across Media instead offers a useful, compelling framework for characterizing slowness in cultural and narrative studies. The editors recognize that
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/505/image/coversmallSlow Narrative across Media ed. by Marco Caracciolo and Ella Mingazova (review)2025-06-26text/htmlen-USSlow Narrative across Media ed. by Marco Caracciolo and Ella Mingazova (review)2025-06-262025TWOProject MUSE®129572026-05-16T00:00:00-05:002025-06-26Literature, Interpretation, and Ethics by Colin Davis (review)
https://muse.jhu.edu/article/963519
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Having dotted the i's and crossed the t's on a festschrift dedicated to the work of Emeritus Professor of French and Comparative Literature Colin Davis, two book editors received news of a forthcoming publication with comic irony. Those book editors were myself and Helena Duffy, and the new monograph was Davis's Literature, Interpretation, and Ethics, a title reassuringly complementary to that of the now-published festschrift, Trauma, Ethics, Hermeneutics: Essays in Honour of Professor Colin Davis (2024), which was conceived on the occasion of Davis's retirement from Royal Holloway, University of London, and receipt of the title of Chevalier dans l'Ordre des Palmes Académiques (2021). While the publication of
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/505/image/coversmallLiterature, Interpretation, and Ethics by Colin Davis (review)2025-06-26text/htmlen-USLiterature, Interpretation, and Ethics by Colin Davis (review)2025-06-262025TWOProject MUSE®238722026-05-16T00:00:00-05:002025-06-26Radical Realism, Autofictional Narratives, and the Reinvention of the Novel by Fiona J. Doloughan (review)
https://muse.jhu.edu/article/963520
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Autofiction is primarily associated with French literary discourse, and its entry into anglophone debates has been quite recent, as evidenced by the collections Autofiction in English (Dix 2018) and The Autofictional: Approaches, Affordances, Forms (Effe and Lawlor 2022). This relatively recent theoretical and scholarly output could be the result of a delay in translation or a focus on other theoretical or generic concepts, such as memoir or life writing. Undeniably, the last decade has also seen a rise in literary publications that challenge distinctions between fiction and fact by experimentally navigating life narratives, not least through the monumental success of Karl Ove Knausgaard's My Struggle series.
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/505/image/coversmallRadical Realism, Autofictional Narratives, and the Reinvention of the Novel by Fiona J. Doloughan (review)2025-06-26text/htmlen-USRadical Realism, Autofictional Narratives, and the Reinvention of the Novel by Fiona J. Doloughan (review)2025-06-262025TWOProject MUSE®132932026-05-16T00:00:00-05:002025-06-26Stardust: Cinematic Archives at the End of the World by Hannah Goodwin (review)
https://muse.jhu.edu/article/963521
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Hannah Goodwin's debut academic book, Stardust: Cinematic Archives at the End of the World, opens with the poignant question: "What archives of humanity will exist after the end of the world?" (1). This is certainly a question that resonates in the current global moment, which is in many ways defined by ongoing and interconnected catastrophes (the intensified genocides in Palestine, Sudan, and the Democratic Republic of the Congo; increasingly frequent and severe climate disasters; and the not-so-post pandemic, to name a few) where apocalyptic anxieties are rife. One can see the way that such precarity seems to carry with it an impulse to step beyond the end and see what traces are left, as evidenced in discourses
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/505/image/coversmallStardust: Cinematic Archives at the End of the World by Hannah Goodwin (review)2025-06-26text/htmlen-USStardust: Cinematic Archives at the End of the World by Hannah Goodwin (review)2025-06-262025TWOProject MUSE®78852026-05-16T00:00:00-05:002025-06-26Not I—Kazuo Ishiguro and the Politics of Misrecognition by Franziska Quabeck (review)
https://muse.jhu.edu/article/963522
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Kazuo Ishiguro's novels, with their emphasis on first-person narration, memory, and the human capacity for self-deception, have long provided scholars with fertile ground for exploring the nuances of unreliable narration. Many of these explorations, often focusing on The Remains of the Day—a "near-perfect realisation of the technique of narrative unreliability" (D'hoker 2008: 154)—have produced some of the major milestones in the study of this still-elusive idea. We might nod to Kathleen Wall and her idea that unreliability is a function of a narrator's "split subjectivity" (1994: 23); James Phelan and Mary Patricia Martin (1999) and their six types of unreliability; and Elke D'hoker, who argues that Ishiguro's
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/505/image/coversmallNot I—Kazuo Ishiguro and the Politics of Misrecognition by Franziska Quabeck (review)2025-06-26text/htmlen-USNot I—Kazuo Ishiguro and the Politics of Misrecognition by Franziska Quabeck (review)2025-06-262025TWOProject MUSE®171212026-05-16T00:00:00-05:002025-06-26The Beauty of Choice: On Women, Art, and Freedom by Wendy Steiner (review)
https://muse.jhu.edu/article/963523
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What does it mean to choose in the female context? In The Beauty of Choice: On Women, Art, and Freedom (2024), Wendy Steiner seeks to unravel a question as complex as it is labyrinthine. As the book unfolds, this perception is heightened by the reader's experience of encountering a type of writing that challenges linearity, with references overflowing in each of the eleven chapters.Influenced by her interdisciplinary approach, Steiner merges feminism, history, philosophy, art, evolutionary theory, and fiction to delve into the implications of what it means to choose. According to the distinguished cultural critic, "Aesthetics is women's way of creating what it is to be human" (19). In this vein, she explores the
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/505/image/coversmallThe Beauty of Choice: On Women, Art, and Freedom by Wendy Steiner (review)2025-06-26text/htmlen-USThe Beauty of Choice: On Women, Art, and Freedom by Wendy Steiner (review)2025-06-262025TWOProject MUSE®60702026-05-16T00:00:00-05:002025-06-26