...Meir Sternberg Trumpeted as the artistic hallmark, central to Russian Formalism, and persistent ever since, estrangement yet remains an ill-defined term. We have nothing like a comprehensive approach to it, equipped to specify its workings by kind, medium, art form, discourse level, historical...

...Meir Sternberg Porter Institute for Poetics and Semiotics 2006 This content is made freely available by the publisher. It may not be redistributed or altered. All rights reserved. Preface and Acknowledgments This is a companion special issue to our recent one on ‘‘How Testimony...

...Meir Sternberg Since modernism, narrative omniscience has been much attacked, yet little studied and understood. This in inverse ratio to the central role it actually plays in narrative discourse and metadiscourse alike: the telling, reading, grouping, evolving, conceptualizing of stories, invented...

...Meir Sternberg; Tamar Yacobi 1 The State of the Art: A Field in Trouble. 2 (Un)Reliable Discourse off to a Stimulating Equivocal Start: Why Wayne Booth's The Rhetoric of Fiction Falls Short and Where to Go from There: 2.1 Stammering between Narrator and Implied Author, or, Why the Author Needs...

...Meir Sternberg This paper deals with “motivation” as fiction’s twofold logic of patterning and relates it to other concepts or lines of sense-making (e.g., integration, naturalization). The argument is best summarized through the paper’s headings. 1. Why Is the Discourse Like That? Motivation...

...Meir Sternberg Inference has long been the concern of assorted disciplines that vary in focus, rationale, apparatus, terminology, and achievement. There would appear an inverse proportion between the range and the orderliness of the knowledge accumulated by the various disciplines. Literary study...

...Meir Sternberg © 2011 by Porter Institute for Poetics and Semiotics 2011 References Abbate Carolyn 1991 Unsung Voices: Opera and Musical Narrative in the Nineteenth Century ( Princeton, NJ : Princeton University Press ). Abbott H. Porter 2000a...

...Meir Sternberg © 2015 by Porter Institute for Poetics and Semiotics 2015 Preface and Acknowledgments Had I a couple of lifetimes to spare, I would happily devote one of them to the comparative study of Yiddish, building on my education at home and at the Hebrew University of Jerusalem...

...Meir Sternberg © 2003 by the Porter Institute for Poetics and Semiotics 2003 Abelson, Robert A. 1987 “Artificial Intelligence and Literary Appreciation: How Big Is the Gap?” in Hálász 1987 : 39 -48. Adler, Hans, and Sabine Gross 2002 “Adjusting the Frame: Comments on Cognitivism...

...Meir Sternberg © 2003 by the Porter Institute for Poetics and Semiotics 2003 Abelson, Robert P. 1983 “Commentary Points,” Behavioral and Brain Sciences 6 : 591 -92. 1987 “Artificial Intelligence and Literary Appreciation: How Big Is the Gap?” in Hàlàsz 1987 : 39 -48...

... languages the characters in Rushdie's novel are actually speaking; though there can be found in the novel several of the strategies Meir Sternberg identifies with translational mimesis (the representation of one language within another), the material substance of English is important in much of its dialogue...

...Tamar Yacobi As in my previous work, I define ekphrasis (following up Meir Sternberg’s quotation theory) as intermedial quotation or re-presentation (representation in the second degree). My focus here is on the intersection of two of its less common forms: Double Exposure and the Museum Book...

... is mediated. This links up with Meir Sternberg's model of how fictional communication works through quotation . To infer unreliability is to make sense of the text at a quotational remove, with the mediator as ironized quotee set into the overall narrative for a purpose. And the ultimate quoter along...

...Inbar Shaham The structure of repetition, as Meir Sternberg (1978) defines it, consists in the repeated presentation of a fabulaic event along the text continuum. It has three types of component members: (1) forecast (e.g., command, scenario); (2) enactment (representing the forecast’s objective...

.... That is, they resort at various levels of frequency and deliberateness to strategies that narratologists such as Meir Sternberg and Raphaël Baroni view as typical of storytelling. Positing readers who know how the war ended (the Allies won), they do not turn to suspense but seek to arouse curiosity by making...

... on a synthesis of Barbara Herrnstein Smith's approach to the problem of closure with Meir Sternberg's rhetorical-functionalist approach to the definition and understanding of narrative in terms of three major types of interest (suspense, curiosity, and surprise). The essay then proceeds to extend this model...

...,” in Suspense: Conceptualizations, Theoretical Analyses, and Empirical Explorations , edited by Peter Vorderer, Hans J. Wulff, and Mike Friedrichsen, 107 -27 (Malwah, NJ: Lawrence Erlbaum). Sternberg, Meir 1978 Expositional Modes and Temporal Ordering in Fiction (Baltimore, MD: Johns Hopkins University...

... Decades of Cognitivist Efforts: Panel Discussion at the IGEL Conference 2004 with Gerald Cupchik, Andrew Elfenbein, Art Graesser, Uri Margolin, Alan Richardson, and Meir Sternberg ,” www.arts.ualberta.ca/igel/igel2004/debate . Baker Timothy C. 2009 “ The (Neuro)-Aesthetics of Caricature...

... “ Narrative Versions, Narrative Theories ”, Critical Inquiry 7 , no. 1 : 213 – 36 . Sternberg Meir 1990 “ Telling in Time (I): Chronology and Narrative Theory ”, Poetics Today 11 , no. 4 : 901 – 48 . Sternberg Meir 1992 “ Telling in Time (II): Chronology, Teleology...

..., Arthur C. 2004 “ Comments on Meir Sternberg's 'Perspectives on Three Decades of Cognitivist Efforts ,' www.arts.ualberta.ca/igel/igel2004/debate/Graesser.htm . Graesser, Arthur C., and Bianca Klettke 2001 “Agency, Plot, and a Structural Affect Theory of Literary Story Comprehension...