...Christopher D. Kilgore; Dan Irving This article tracks the evolution of the concept “event” through several iterations in narrative theory, from the compact, nugget-like verbal object favored in structuralist accounts, through the expanded multipart schema adapted from cognitive studies, to a more...

...Eyal Segal © 2013 by Porter Institute for Poetics and Semiotics 2013 Hühn Peter , Eventfulness in British Fiction . Berlin : de Gruyter , 2010 . viii + 213 pp. New Books at a Glance Peter Hu¨ hn, Eventfulness in British Fiction. Berlin: de Gruyter, 2010. viii 1213 pp...

... for his teaching but also as a problematic of the seminars that he gave, the author argues that Derrida precisely embraced the ambivalence of a space at once caught up in the politics of reproduction, hegemony, and tradition and, to that very extent, the site of a potential “event.” The Seminar...

...Darja Filippova This article discusses the performance events “Do Not Believe Your Eyes” (2000) and “Ally/Foe” (2010) by Russian artist Oleg Mavromatti in the framework of a single durational event that critiques the sacralization of public space in Russia. The public reception of the performances...

... of what has been called the poetry of witness or trauma literature. Critics of those subgenres have suggested that literature need not be historically accurate, nor even refer directly to those traumatic events. Yasusada takes that a step further, offering an example of how heteronyms can be used to offer...

... borders determined by the inherent character of specific events rather than as subjective borders determined by the way an event is experienced. In this essay I propose a different model. Taking as my example the work of Emily Dickinson—a poet whose descriptions of psychic distress, often presumed...

...Libbie Rifkin This essay attempts to reframe the scholarship on postwar avant-gardist practice by rereading an event some commentators consider the beginning of the academic cooptation of the avant-garde: the Berkeley Poetry Conference of 1965. Held just after the anthology wars had established...

..., previously unrecognized features of medieval and other premodern texts. Possible world theory and the concept of virtual narratives, in particular, can show that medieval narratives are also structured by events (e.g., plans, dreams) that, though thoroughly described, are never realized: they remain, instead...

... conception of character. The first consciousness, that of the narrative audience, involves the reader projecting herself or himself into an observer position within the story world—as if under an invisibility cloak—and thus taking the characters and events as real. The second consciousness...

..., the recipient is no longer simply reading an ekphrastic poem but engaged in an activity of reading, viewing, and listening, whereby ekphrasis becomes part of a multisensory “event.” Digital “remediation” has given the ekphrastic writer a new creative freedom to work with the visual arts. In particular, software...

... pictures can convey essential story events in a predetermined order and reliably convey the timeline of these events. This implies that such single pictures can be narratives even according to narrow definitions of the concept. Telling in Time Extended: Temporality in the Spatial Arts; How Single...

... as variable events, boldly problematize communication and cognitive processes in networks—whether they are implemented in computer systems by secret agencies or corporations. Hatcher’s critique of black boxes entails re-creating issues of security, control and surveillance, as digital systems are increasingly...

... these prototypes on narrative genres such as historiography and fiction, it compares the configuration of narratives designed to inform readers about the signification of a past event with the emplotment of narratives aiming to immerse readers in a simulated past or a fictive storyworld. While contemporary...

... as originating in cultural and historical reality. At different points in time, new places, discourses, practices, and events arise, and, because of their cultural ubiquity, these cultural phenomena possess obvious conventional functions and meanings, a sort of cultural doxa. Second, however, literature...

... of past events, thus advancing from a rival to a partner of historiography. The question to be asked is no longer merely what has happened? but also how was the event experienced, how is it remembered and passed on to succeeding generations? The new mnemo-historical genre of video testimony is analyzed...

... of meaning production typically found in literary forms. In particular, anecdotal materials are the fragmented“stuff” of historical narratization: they facilitate the shaping of historical events into stories and more or less formalized“facts.” This essay examines how the New Historicist anecdote remodels...

...) explicit descriptions of feelings in response to situations and events in the text, (2) blurred boundaries between oneself and the narrator of the text, and (3) active and iterative modification of an emergent affective theme. The self-modifying feelings characteristic of expressive enactment give...

... earlier studies about the development of readers and can be understood in relation to general developmental characteristics. However,together with some additional observations about parallel shifts in the objects of identification from characters and events to abstract themes, a more detailed and complete...

...) wrote about their own experiences, and the overwhelming majority (91 percent) described reactions to realistic fiction or fantasy content (depicting impossible events) rather than to the news or a documentary. The ninety-one papers about the four presentations cited most frequently— Jaws, Poltergeist...

... engage the reader ethically; and to do justice to such works as a reader is to respond fully to an event whereby otherness challenges habitual norms. When the fiction itself concerns the ethics of otherness, as in J. M. Coetzee's two earliest fictions, Dusklands and In the Heart of the Country...