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In Coincidence and Counterfactuality, a groundbreaking analysis of plot, Hilary P. Dannenberg sets out to answer the perennial question of how to tell a good story. While plot is among the most integral aspects of storytelling, it is perhaps the least studied aspect of narrative. Using plot theory to chart the development of narrative fiction from the Renaissance to the present, Dannenberg demonstrates how the novel has evolved over time and how writers have developed increasingly complex narrative strategies that tap into key cognitive parameters familiar to the reader from real-life experience. ø Dannenberg proposes a new, multidimensional theory for analyzing time and space in narrative fiction, then uses this theory to trace the historical evolution of narrative fiction by focusing on coincidence and counterfactuality. These two key plot strategiesøare constructed around pivotal moments when characters? life trajectories, or sometimes the paths of history, converge or diverge. The study?s rich historical and textual scope reveals how narrative traditions and genres such as romance and realism or science fiction and historiographic metafiction, rather than being separated by clear boundaries are in fact in a continual process of interaction and cross-fertilization. In highlighting critical stages in the historical development of narrative fiction, the study produces new readings of works by pinpointing the innovative role played by particular authors in this evolutionary process. Dannenberg?s original investigation of plot patterns is interdisciplinary, incorporating research from narrative theory, cognitive approaches to literature, social psychology, possible worlds theory, and feminist approaches to narrative.
Current Trends in Narratology offers an overview of cutting-edge approaches to theories of storytelling. It describes the move to cognition, the new emphasis on non-prose and multimedia narratives, and introduces a third field of research - comparative narratology. This research addresses how local institutions and national approaches have affected the development of narratology. Leading researchers detail their newest scholarship while placing it within the scope of larger international trends.
Counterfactuality is currently a hotly debated topic. While for some disciplines such as linguistics, cognitive science, or psychology counterfactual scenarios have been an important object of study for quite a while, counterfactual thinking has in recent years emerged as a method of study for other disciplines, most notably the social sciences. This volume provides an overview of the current definitions and uses of the concept of counterfactuality in philosophy, historiography, political sciences, psychology, linguistics, physics, and literary studies. The individual contributions not only engage the controversies that the deployment of counterfactual thinking as a method still generates, they also highlight the concept’s potential to promote interdisciplinary exchange without neglecting the limitations and pitfalls of such a project. Moreover, the essays from literary studies, which make up about half of the volume, provide both a historical and a systematic perspective on the manifold ways in which counterfactual scenarios can be incorporated into and deployed in literary texts.
In recent years controversy has surrounded the narrative turn in history and the historical turn in fiction. This book clarifies what is at stake, tracing connections between historiography and life-writing, arguing that the challenges posed in representing the past illuminate issues which are central to all literary narrative.
Exploiting a link between early modern concepts of the medical and the literary, David Wood examines the ways that depictions of time expressed in early modern medical texts reveal themselves in contemporary literary works, demonstrating that the early modern recognition of the self as a palpably volatile entity facilitated the realistic portrayal of literary characters and served as a structuring principle for narrative experimentation.
This book presents a multidisciplinary perspective on chance, with contributions from distinguished researchers in the areas of biology, cognitive neuroscience, economics, genetics, general history, law, linguistics, logic, mathematical physics, statistics, theology and philosophy. The individual chapters are bound together by a general introduction followed by an opening chapter that surveys 2500 years of linguistic, philosophical, and scientific reflections on chance, coincidence, fortune, randomness, luck and related concepts. A main conclusion that can be drawn is that, even after all this time, we still cannot be sure whether chance is a truly fundamental and irreducible phenomenon, in that certain events are simply uncaused and could have been otherwise, or whether it is always simply a reflection of our ignorance. Other challenges that emerge from this book include a better understanding of the contextuality and perspectival character of chance (including its scale-dependence), and the curious fact that, throughout history (including contemporary science), chance has been used both as an explanation and as a hallmark of the absence of explanation. As such, this book challenges the reader to think about chance in a new way and to come to grips with this endlessly fascinating phenomenon.
Focusing in turn on history, powerful individuals, under-represented voices and the arts, the essays in this collection cover a wide variety of modern and contemporary narrative fiction from Jo Walton and L. Sprague De Camp to T. S. Chaudhry and Catherynne M. Valente. Chapters look into the question of chance versus determinism in the unfolding of historical events, the role individuals play in shaping a society or occasion, and the way art and literature symbolise important messages in counterfactual histories. They also show how uchronic narratives can take advantage of modern literary techniques to reveal new and relevant aspects of the past, giving voices to marginalised minorities and suppressed individuals of the ancient world. Counterfactual fiction and uchronic narratives have been largely up until now the domain of literary critics. However, these modes of literature are here analysed by scholars of Ancient History, Egyptology and Classics, shedding important new light on how cultures of the ancient world have been (and still are) perceived, and to what extent our conceptions of the past are used to explore alternate presents and futures. Alternate history entices the imagination of the public by suggesting hypothetical scenarios that never occurred, underlining a latent tension between reality and imagination, and between determinism and contingency. This interest has resulted in a growing number of publications that gauge the impact of what-if narratives, and this one is the first to give scholars of the ancient world centre-stage.
This book offers a comprehensive Possible Worlds framework with which to analyse counterfactual historical fiction. Counterfactual historical fiction is a literary genre that comprises narratives set in worlds whose histories run contrary to the history of our world, usually speculating on what would have happened had a significant historical event (such as a war) turned out differently. The author develops a systematic critical approach based on a customised model of Possible Worlds Theory supplemented by cognitive concepts that account for the different processes that readers go through when they read counterfactual historical fiction, a genre which relies heavily on pre-existing knowledge about history and culture. This book will be of interest to anyone working with Possible Worlds, including within the fields of philosophy, literary studies, stylistics, cognitive poetics, and narratology.