system. To the four types of
narrative in the original typology, Boéri adds professional narratives,
‘stories and explanations that professionals elaborate for themselves
and others about the nature and ethos of their activity’ ( 2008 : 26), which could also be included here as examples of
societal narratives. Others can be found in discourse that refers to
narratives without any specific references to narrativetheory as such
Through the prisms of psychoanalysis and narrative theory the article addresses the concepts of temporality and transgenerational phantom in Elizabeth Gaskells Gothic piece ‘The Poor Clare’ (1856). Gaskells text, which revolves around an ancestral curse, is but a loose repetitious narrative characterized by the circularity of its structure and tone – its end casting one back into its middle – with its narrator narrating the past locked into the present, which is completely determined by the future, by the curse to be fulfilled. Narration becomes unsettling and obsessional, revealing the texts shared phantoms/foreign bodies as these implicate the characters and the narrating persona in a complex web of unconscious identifications and psychic splits, eventually coming to congeal around the biblical prophecy: ‘the sins of the fathers shall be visited upon the children’. In being reiterated throughout, the cryptic and (encrypted) words reaffirm both the efficacy of the curse –which always already doubles back on the one that has hurled it – and the texts playing out of desire and trauma, thus rendering the celebrated subject of the Enlightment both an ailing subject and an alien to itself.
The cruelty of the September 2004 terrorist attack marks Beslan as Russia's worst hostage crisis. The similarities and differences in the reporting of such a violent, and ultimately calamitous, series of events are the focus of this book. The book investigates ways in which different narratives are constructed from, and in response to, events emerging from situations of violent conflict. It explores the relevance of narratives for, and the contributions of socio- narrative theory towards, understanding, explaining and challenging the behaviour of individuals and the practices of social units and institutions. The book also explores issues of translation and ways in which translation impacts on the (re)construction of narratives. It is written as an act of anamnesis to engender recognition and recollection. The book is essentially a case study in that it investigates in depth a small sample of online reporting written in response to a particular set of events. The socio- narrative theory presented is not just an analytical tool but is itself an object of investigation. The book investigates the Russian- language narrative texts published by a different online news agency by analyzing those texts published by the major Russian agency RIA- Novosti . It then examines the Chechen resistance website Kavkazcenter, and investigates the reports published by Caucasian Knot, a charitably funded Russian civil society website. These chapters strive to determine what narratives, the English-language material, these three Russian news agencies constructed from the reported events in Beslan, and how these narratives were constructed.
The first book-length study of the Scottish Legendary (late 14th c.), the only extant collection of saints’ lives in the vernacular from medieval Scotland, scrutinises the dynamics of hagiographic narration, its implicit assumptions about literariness, and the functions of telling the lives of the saints. The fifty saints’ legends are remarkable for their narrative art: the enjoyment of reading the legends is heightened, while didactic and edifying content is toned down. Focusing on the role of the narrator, the depiction of the saintly characters, their interiority, as well as temporal and spatial parameters, it is demonstrated that the Scottish poet has adapted the traditional material to the needs of an audience versed in reading romance and other secular genres. The implications of the Scottish poet’s narrative strategies are analysed also with respect to the Scottishness of the legendary and its overall place in the hagiographic landscape of late medieval Britain.
to gaining a deeper understanding of how a narrative
‘works’, that is, how it creates meaning, how it influences its audience, and how it unfolds its specific aesthetic. The aesthetic we
find in the Scottish Legendary is of course in no way formalised.
It emerges, rather, as an implicit ‘programme’ or poetics from the
overall consistent and regular employment of formal elements in
and through narrative.
Narrativetheory and the Scottish Legendary: a pragmatic approach
A poetics that manifests itself in the practice of hagiographic narration in the Scottish
This book, motivated by both the
events in Beslan and the ideas of narrativetheory, asks to what extent a
narrativetheory combining sociological and narratological approaches lends
itself to elaborating a model of analysis for the study of media reporting
(and translation) on violent conflict in general and the Beslan hostage
disaster in particular. Narrativetheory was adopted not only as the
very gradually does writing become composition in writing, a kind of
discourse […] that is put together without a feeling that the one writing is actually speaking aloud.’20 Since much of early modern prose
was not read silently but rather read out loud by the rare person literate enough to deal with print, Ong’s reminder that such an audience had a ‘sense of the word as necessarily spoken’ should be taken
seriously. Without directly addressing narrativetheory, Ong perceptively, for the present purpose, notes that ‘When a speaker is addressing an audience, the
narratives for, and the
contributions of socio-narrativetheory towards, understanding, explaining
and challenging the behaviour of individuals and the practices of social
units and institutions. By examining both the Russian and English texts
published by three different websites, the book also explores issues of
translation and ways in which translation impacts on the (re)construction of
various ways in which
Marlow is deployed.15 Following Lothe’s example, I will proceed by
offering an overview of the narrative structures common to the four
Marlow texts, examining the processes of narrating they employ with
reference to Gérard Genette’s work on narratology, before exploring a
reading of ‘Youth’ in which the relation between the two Marlow’s, the
form if you like, is central to the story’s ostensible ‘content’.
Genette’s Narrative Discourse, a key text of narrativetheory, begins by
identifying three distinct ways in which the word
(and will not)
tolerate from “them”’ (Croft 2006, 1). The use of fear and threat, inherent to
security stories, invigorates the boundaries of us and them as ‘they’ become a
threat to our way of life/lives.
Narrativetheory is important to understanding this. Narrative approaches
recognise that ‘[w]e glean ideas about the world and our place in it from the
stories we are told; we repeat these ideas and ideals in the stories that we tell’
(Shepherd 2013, 345). Narrative is distinct from discourse, it has a beginning,
a middle and an end (Ciută