...Dan Shen In many fictional narratives, especially shorter ones, the plot exists in tension with a very different and powerful dynamic that runs at a deeper and hidden level throughout the text. I designate this undercurrent as “covert progression” and investigate how the implied author creates...

...Eyal Segal Shklovsky Viktor , Energy of Delusion: A Book on Plot , translated by Avagyan Shushan . Champaign : Dalkey Archive Press , 2007 . ix + 428 pp. © 2011 by Porter Institute for Poetics and Semiotics 2011 New Books at a Glance Guillemette Bolens, Le...

...Eyal Segal 2003 New Books at a Glance 6828 POETICS TODAY / 24:1 / sheet 145 of 151 Brian Richardson, ed., Narrative Dynamics: Essays on Time, Plot, Closure, and Frames. Columbus: Ohio State University Press, xi...

...Kai Mikkonen Abstract This article discusses the literary character's plot function as an element of the author's rhetorical strategy, and in relation to the reader's active role in responding to that strategy. The main focus will be on characterological instances in narrative fiction...

... thought, but it does so in a flexible exchange between verbal markers and language-created contexts. The author models this exchange for literary texts by means of salient verbal markers that indicate plot events and outlines possible shared avenues of future research for cognitive literary studies...

...Susan McCabe [email protected] Pardis Dabashi , Losing the Plot: Film and Feeling in the Modern Novel . University of Chicago Press , 2023 . 296 pages. Copyright © 2024 by Porter Institute for Poetics and Semiotics 2024 Pardis Dabashi's Losing the Plot revises the way...

...Eyal Segal Hilary P. Dannenberg, Coincidence and Counterfactuality: Plotting Time and Space in Narrative Fiction . Lincoln: University of Nebraska Press , 2008 . xii + 289 pp . Porter Institute for Poetics and Semiotics 2010 New Books at a Glance Rebecca Beasley, Theorists...

...Hilary P. Dannenberg In the major form of the traditional coincidence plot, estranged relatives meet in remarkable circumstances. In complex representations, the central aspect is cognitive and involves a recognition scene in which the estranged characters discover each other's identity...

... by connecting characters in different locations. This article argues that the technical capabilities of different communication systems, when represented within a novel's story world, help determine the forms of plot, characterization, and narrative voice that a novelist can feasibly present. To demonstrate...

... such development as a feature of narrative in general; by the standards of serious narrative, comic plots can even unroll “incongruously” many causal-temporal developments (as when farcical plots run wild). More generally, Zupančič shows little awareness of existing research on humor and comedy. Humor Studies may...

... of cultural-semantic analysis necessary to understand 300 . The article then reads the overt plot and analyzes the narrator’s voice to assess distances between implied reader/author, narrator, and characters, which previous criticism has established. Next, the article analyzes the covert progression...

...Jonas Grethlein Abstract Ricoeur's Time and Narrative is duly cited in footnotes but does not seem to have had a strong impact on anglophone narratology. One of the reasons for this is certainly Ricoeur's emphasis on plot, which does not harmonize with the focus on consciousness in cognitive...

..., virtual to the end. This essay studies Geoffrey Chaucer’s Franklin’s Tale because, among medieval narratives, it flaunts the richest domain of the virtual. Its plot largely revolves around not what happens in its story world but what could happen in it and yet does not. Paying attention to virtual strings...

... of The Lump of Coal (2008) by Lemony Snicket. The analysis shows that stories can be interpreted as ways of circulating and negotiating narrative templates on three levels. First, the plot of the text itself can be read as a circulation of elements taken from various domains mentioned in the story (especially...

... as Twofold Reason-Giving 2. Reality, Artifice, and Motivation: Doctrinal Biases, Variable Products, Universal Modes; 2.1 Aristotle’s Mimesis of Nature by Art; or, Why Plot above Character?; 2.2 Viktor Shklovsky and Mimesis Fallen below Art 3. How the Extremes Compare: Toward an Alternative Theory 4...

... a multiplicity of versions. Given an excuse, there is not just a plurality of possible plot developments but also a consideration of linguistic nuances when weighing responsibility. The excuse generates a context within which the acts of the speaker appear in a different light or as elements of a different story...

... themselves to the structure’s functions at the level of plot, meaning, and rhetoric, notably including their generic variations, as exemplified by the three focal genres. © 2014 by Porter Institute for Poetics and Semiotics 2014 This article is based on parts of my doctoral dissertation...

... own purposes. The use of strong implicature, which characterizes these works and seems necessary for the sustained creation of humor, explains the air of inevitability that permeates their plots and, finally, would also seem to explain the fact that they are intuitively and almost invariably...

...Daniel Punday Role-playing games have many qualities of narrative (character, plot, setting), yet they have received virtually no attention from narratologists. This essay discusses the way that role-playing games construct narrative worlds and compares that to recent theories of fiction based...