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The proliferation of media and their ever-increasing role in our daily life has produced a strong sense that understanding media-everything from oral storytelling, literary narrative, newspapers, and comics to radio, film, TV, and video games-is key to understanding the dynamics of culture and society.Storyworlds across Mediaexplores how media, old and new, give birth to various types of storyworlds and provide different ways of experiencing them, inviting readers to join an ongoing theoretical conversation focused on the question: how can narratology achieve media-consciousness? The first part of the volume critically assesses the cross- and transmedial validity of narratological concepts such as storyworld, narrator, representation of subjectivity, and fictionality. The second part deals with issues of multimodality and intermediality across media. The third part explores the relation between media convergence and transmedial storyworlds, examining emergent forms of storytelling based on multiple media platforms. Taken together, these essays build the foundation for a media-conscious narratology that acknowledges both similarities and differences in the ways media narrate.

Stories engage our emotions. We've known this at least since the days of Plato and Aristotle. What this book helps us to understand now is how our own emotions fundamentally organize and orient stories. In light of recent cognitive research and wide reading in different narrative traditions, Patrick Colm Hogan argues that the structure of stories is a systematic product of human emotion systems. Examining the ways in which incidents, events, episodes, plots, and genres are a function of emotional processes, he demonstrates that emotion systems are absolutely crucial for understanding stories. Hogan also makes a case for the potentially integral role that stories play in the development of our emotional lives. He provides an in-depth account of the function of emotion within story-in widespread genres with romantic, heroic, and sacrificial structures, and more limited genres treating parent/child separation, sexual pursuit, criminality, and revenge-as these appear in a variety of cross-cultural traditions. In the course of the book Hogan develops interpretations of works ranging from Tolstoy'sAnna Kareninato African oral epics, from Sanskrit comedy to Shakespearean tragedy. Integrating the latest research in affective science with narratology, this book provides a powerful explanatory account of narrative organization.

Ethos and Narrative Interpretationexamines the fruitfulness of the concept of ethos for the theory and analysis of literary narrative. The notion of ethos refers to the broadly persuasive effects of the image one may have of a speaker's psychology, world view, and emotional or ethical stance. How and why do readers attribute an ethos (of, for example, sincerity, reliability, authority, or irony) to literary characters, narrators, and even to authors? Are there particular conditions under which it is more appropriate for interpreters to attribute an ethos to authors, rather than to narrators? In the answer Liesbeth Korthals Altes proposes to such questions, ethos attributions are deeply implicated in the process of interpreting and evaluating narrative texts. Demonstrating the extent to which ethos attributions, and hence, interpretive acts, play a tacit role in many methods of narratological analysis, Korthals Altes also questions the agenda and epistemological status of various narratologies, both classical and post-classical. Her approach, rooted in a broad understanding of the role and circulation of narrative art in culture, rehabilitates interpretation, both as a tool and as an object of investigation in narrative studies.

Featuring contributions from leading scholars in the field, The Handbook of Narrative Analysis is the first comprehensive collection of sociolinguistic scholarship on narrative analysis to be published. * Organized thematically to provide an accessible guide for how to engage with narrative without prescribing a rigid analytic framework * Represents established modes of narrative analysis juxtaposed with innovative new methods for conducting narrative research * Includes coverage of the latest advances in narrative analysis, from work on social media to small stories research * Introduces and exemplifies a practice-based approach to narrative analysis that separates narrative from text so as to broaden the field beyond the printed page

Basic Elements of Narrative outlines a way of thinking about what narrative is and how to identify its basic elements across various media, introducing key concepts developed by previous theorists and contributing original ideas to the growing body of scholarship on stories.Includes an overview of recent developments in narrative scholarshipProvides an accessible introduction to key concepts in the fieldViews narrative as a cognitive structure, type of text, and resource for interpersonal communicationUses examples from literature, face to face interaction, graphic novels, and film to explore the core features of narrativeIncludes a glossary of key terms, full bibliography, and comprehensive indexAppropriate for multiple audiences, including students, non-specialists, and experts in the field.

Recent developments in cognitive narrative theory have called attention to readers' active participation in making sense of narrative.However, while most psychologically inspired models address interpreters' subpersonal (i.e., unconscious) responses, the experiential level of their engagement with narrative remains relatively undertheorized.

Serialization is an old narrative strategy and a form of publication that can be traced far back in literary history, yet serial narratives are as popular as ever. This book investigates a resurgence of serial narratives in contemporary literary culture. Analyzing series as diverse as Mark Z. Danielewski's experimental book series The Familiar, audiobook series by the Swedish streaming service Storytel, children's books by Lemony Snicket and Philip Pullman and their adaptations into screen, and serial writing and reading on the writing site Wattpad, the book traces how contemporary series at once are shaped by literary tradition and develop the format according to the logics of new media and digital technologies. The book sheds light on the interplay between the selected serials' narrative content and medial, social, and economic contexts, drawing on insights from literary studies, literary sociology, media studies, and cultural studies. Serialization in Literature Across Media and Markets thus contributes a unique and interdisciplinary perspective on a historical phenomenon that has proved ever more successful in contemporary media culture.

The socially minded linguistic study of storytelling in everyday life has been rapidly expanding. This book provides a critical engagement with this dynamic field of narrative studies, addressing long-standing questions such as definitions of narrative and views of narrative structure but also more recent preoccupations such as narrative discourse and identities, narrative language, power and ideologies. It also offers an overview of a wide range of methodologies, analytical modes and perspectives on narrative from conversation analysis to critical discourse analysis, to linguistic anthropology and ethnography of communication. The discussion engages with studies of narrative in multiple situational and cultural settings, from informal-intimate to institutional. It also demonstrates how recent trends in narrative analysis, such as small stories research, positioning analysis and sociocultural orientations, have contributed to a new paradigm that approaches narratives not simply as texts, but rather as complex communicative practices intimately linked with the production of social life.

The categories of classical narratology have been successfully applied to ancient texts in the last two decades, but in the meantime narratological theory has moved on. In accordance with these developments, Narratology and Interpretation draws out the subtler possibilities of narratological analysis for the interpretation of ancient texts. The contributions explore the heuristic fruitfulness of various narratological categories and show that, in combination with other approaches such as studies in deixis, performance studies and reader-response theory, narratology can help to elucidate the content of narrative form. Besides exploring new theoretical avenues and offering exemplary readings of ancient epic, lyric, tragedy and historiography, the volume also investigates ancient predecessors of narratology.

Narratives are artefacts of a special kind: they are devices which function to tell stories, and do so by conveying the storytelling intentions of their makers. But, narrative itself is too inclusive a category for much more to be said about it than this; we should focus attention instead on the vaguely defined but interesting category of things rich in narrative structure. Such devices offer significant possibilities, not merely for the representation of stories, but for the expression of point of view; they have also played an important role in the evolution of reliable channels of information, an issue pursued in three chapter appendices. This book argues that much of the pleasure of narrative depends on early developing tendencies in human beings to imitation and to joint attention, and imitation turns out to be the key to understanding such important literary techniques as free indirect discourse and character‐focused narration. The book also examines irony in narrative, with an emphasis on the idea of the expression of ironic points of view; a case study of this phenomenon is offered. Finally, the book examines the idea of Character, as evidenced in robust, situation‐independent ways of acting and thinking, and its important role in many narratives. It is asked whether scepticism about the notion of Character should have us reassess the dramatic and literary tradition which places such emphasis on Character.