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Words, Worlds, and Narratives: Transmedia and Immersion offers an interdisciplinary discussion of the way in which narrative is transmitted, transformed and translated through the wide variety of technologies and media platforms available in the 21st century. This volume critically engages with the field of transmedia studies and addresses the significance of media to narrative and authorship to immersion. What emerges is a unique look at collaborative scholarship and storytelling which is both disruptive and immersive. Using a diverse archive of narrative forms, including video games, fan fiction, film adaptation and social media, the chapters in this volume explore the narratological, social, political and economic implications of transmedia narrative in the public and private spaces of the digital and the immersive media communities.
This book argues that literary features and ritual dynamics within the book of Leviticus enlighten each other. The first two chapters establish that one may read Leviticus as a coherent literary work and define the genre of Leviticus as "narrativized ritual," a complex blending of descriptive narrative and prescriptive ritual. In conversation with Catherine Bell, they present several aspects of the text that are ritualized and show how this ritualization implies a negotiation of power relations among participants. The third and fourth chapters examine the first half of Leviticus, both the legal sections in Lev. 1-7 and 11-15 and the narratives in Lev. 8-10 and 16. These sections alternate between establishing the ritual system and exposing gaps and ambiguities in that system.Chapter 5 turns to the second half of Leviticus, traditionally called the Holiness Code. The ritual language found in this section is less formal and precise, mirroring the way in which the concept of holiness is expanded and extended to the whole people. As this material concludes the book, it relativizes and democratizes the strict ritual system contained in the first half.
Narrative Research has developed into an international and interdisciplinary field. This volume collects fifteen essays which look at narrative and narrativity from various perspectives, including literary studies and hermeneutics, cognitive theory and creativity research, metaphor studies, and film theory and intermediality
The collection of essays Worlds in Words: Storytelling in Contemporary Theatre takes up the currently widely debated issue of the revival of various techniques of storytelling in contemporary theatre practice and playwriting. This topic is set in a larger context of the crisis of traditional theatrical and dramatic representation in the 20th century and sets the discussion of new storytelling techniques within the framework of cultural and post-colonial studies, as well as the recent theories of performativity. These new performative modes of theatre practice in the recent decades have exerted a strong impact on the mainstream staging techniques as well as on the form and use of texts written for the theatre today. By focusing on the basic relationship between the text, the stage and the audience, the papers collected in this volume trace these fundamental changes taking place nowadays, which testify to the major shifts in the understanding of the very concept of theatre, its place among other arts and media, as well as in culture, especially in the marginalized cultures and diasporas. The authors of the papers collected here undertake a comprehensive analysis of the phenomenon of storytelling and adopt an interdisciplinary approach which will makes it possible to give account of the diverse cultural and socio-political grounding of the contemporary theatrical and dramatic techniques.
This book offers a theory of writing as representational composition, identifying fundamental elements which underlie all principles of writing and textual composition. For students of writing in all areas as well as writers at all levels.
In this important contribution to narrative theory, Marie-Laure Ryan applies insights from artificial intelligence and the theory of possible worlds to the study of narrative and fiction. For Ryan, the theory of possible worlds provides a more nuanced way of discussing the commonplace notion of a fictional "world," while artificial intelligence contributes to narratology and the theory of fiction directly via its researches into the congnitive processes of texts and automatic story generation. Although Ryan applies exotic theories to the study of narrative and to fiction, her book maintains a solid basis in literary theory and makes the formal models developed by AI researchers accessible to the student of literature. By combining the philosophical background of possible world theory with models inspired by AI, the book fulfills a pressing need in narratology for new paradigms and an interdisciplinary perspective.
The notion of possible worlds has played a decisive role in postclassical narratology by awakening interest in the nature of fictionality and in emphasizing the notion of world as a source of aesthetic experience in narrative texts. As a theory concerned with the opposition between the actual world that we belong to and possible worlds created by the imagination, possible worlds theory has made significant contributions to narratology. Possible Worlds Theory and Contemporary Narratology updates the field of possible worlds theory and postclassical narratology by developing this theoretical framework further and applying it to a range of contemporary literary narratives. This volume systematically outlines the theoretical underpinnings of the possible worlds approach, provides updated methods for analyzing fictional narrative, and profiles those methods via the analysis of a range of different texts, including contemporary fiction, digital fiction, video games, graphic novels, historical narratives, and dramatic texts. Through the variety of its contributions, including those by three originators of the subject area--Lubomír Doležel, Thomas Pavel, and Marie-Laure Ryan--Possible Worlds Theory and Contemporary Narratology demonstrates the vitality and versatility of one of the most vibrant strands of contemporary narrative theory.
In current digital games, classic fictional worlds are transformed into ludofictional worlds, spaces rich in characters and emotions that are especially affected by the intervention of a player. In this book, we propose a model, inspired by the Semantics of Fiction and Possible Worlds, which is oriented to the analysis of video games as integrated systems.
Narratives are the concrete manifestation of an author’s subjectivity. They function as that person’s voice, and should be treated with the same respect that is granted to all voices. In Interpreting New Testament Narratives, Eric Douglass develops this ethical perspective, so that narratives are treated as communication, and the author’s voice is regarded as a valued perspective. Employing a cross-disciplinary approach, Douglass shows how readers engage narratives as mental simulations, creating a temporary possible world that readers enter and experience. To recover communication, readers locate the events of this world in the culture of the intended audience, and translate this meaning into the modern reader’s worldview. Using a staged reading design, this initial reading is followed by readings of critique.