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A Narratology of Drama
This volume argues against Gérard Genette’s theory that there is an “insurmountable opposition” between drama and narrative and shows that the two forms of storytelling have been productively intertwined throughout literary history. Building on the idea that plays often incorporate elements from other genres, especially narrative ones, the present study theorises drama as a fundamentally narrative genre. Guided by the question of how drama tells stories, the first part of the study delineates the general characteristics of dramatic narration and zooms in on the use of narrative forms in drama. The second part proposes a history of dramatic storytelling from the Renaissance to the twenty-first century that transcends conventional genre boundaries. Close readings of exemplary British plays provide an overview of the dominant narrative modes in each period and point to their impact in the broader cultural and historical context of the plays. Finally, the volume argues that throughout history, highly narrative plays have had a performative power that reached well beyond the stage: dramatic storytelling not only reflects socio-political realities, but also largely shapes them.
Making Sense of History
In Making Sense of History: Narrativity and Literariness in the Ottoman Chronicle of Naʿīmā, Gül Şen offers the first comprehensive analysis of narrativity in the most prominent official Ottoman court chronicle. Using an interdisciplinary approach that combines methods from history and literary studies, Şen focuses on the purpose and function of the chronicle—not just what the text says but why Naʿīmā wrote it and how he shaped the narrated reality on the textual level. As a case study on the literalization of historical material, Making Sense of History provides insights into the historiographical and literary conventions underpinning Naʿīmā’s chronicle and contributes to our understanding of elite mentalities in the early modern Ottoman world by highlighting the author’s use of key concepts such as history and time.
A Critical Companion to Old Norse Literary Genre
A comprehensive guide to a crucial aspect of Old Norse literature.
The Interface of Orality and Writing
How did the visual, the oral, and the written interrelate in antiquity? The essays in this collection address the competing and complementary roles of visual media, forms of memory, oral performance, and literacy and popular culture in the ancient Mediterranean world. Incorporating both customary and innovative perspectives, the essays advance the frontiers of our understanding of the nature of ancient texts as regards audibility and performance, the vital importance of the visual in the comprehension of texts, and basic concepts of communication, particularly the need to account for disjunctive and non-reciprocal social relations in communication. Thus the contributions show how the investigation of the interface of the oral and written, across the spectrum of seeing, hearing, and writing, generates new concepts of media and mediation.
The Languages of World Literature
This volume opens the series of papers presented at the Vienna Congress of AILC/ICLA 2016, beginning with eight keynotes. Thirty-four further papers are dedicated to the central theme of the conference: the linguistic side of world literature, under different focal points. The volume further contains five roundtables, the papers of a workshop of the UNESCO memory of the worlds programme, a presentation of the avldigital.de platform, as well as several bibliographically enriched overviews of the special lexicography of comparative literature, up to date versions of the ICLA publications, and an example of multiple translations of a famous modern classic.
Seder Eliyahu
The book is concerned with a so called ethical midrash, Seder Eliyahu (also known as Tanna debe Eliyahu), a post-talmudic work probably composed in the ninth century. It provides a survey of the research on this late midrash followed by five studies of different aspects related to what is designated as the work’s narratology. These include a discussion of the problem of the apparent pseudo-epigraphy of the work and of the multiple voices of the text; a description of the various narrative types which the work, itself as a whole of non-narrative character, makes use of; a detailed treatment of Seder Eliyahu’s parables and most characteristic first person narratives (an extremely unusual form of narrative discourse in rabbinic literature); as well as a final chapter dedicated to selected women stories in this late midrash. As it emerges from the survey in chapter 1 such a narratologically informed study of Seder Eliyahu represents a new approach in the research on a work that is clearly the product of a time of transition in Jewish literature.
Characters in Fictional Worlds
Although fictional characters have long dominated the reception of literature, films, television programs, comics, and other media products, only recently have they begun to attract their due attention in literary and media theory. The book systematically surveys today ́s diverse and at times conflicting theoretical perspectives on fictional character, spanning research on topics such as the differences between fictional characters and real persons, the ontological status of characters, the strategies of their representation and characterization, the psychology of their reception, as well as their specific forms and constellations in - and across - different media, from the book to the internet.
Selected Studies on Genre in Middle Eastern Literatures
The examination of literary genres in the Middle East opens the possibility of gaining new insights into the intellectual universe of Middle Eastern societies, the question of production of meaning, what “literature” meant in different historical periods, and the underlying epistemology of producing knowledge, and how this epistemology has changed over time. This book comprises 12 case studies from the three major Middle Eastern languages – Arabic, Persian, and Turkish – written by experts in the field. It brings together a wide range of approaches – from the study of epics to an analysis of travelogues, and from classical poetry to novels. Instead of focusing on one period or juxtaposing the classical genres and the West-induced development of “modern genres,” the studies in their totality apply a broad diachronic and synchronic perspective, with the potential to create a comparative framework for the study of the sociocultural and narratological dimensions of genre in the Middle East.
Reading the Canon
‘Reading the Canon’ explores the relation between the production of literary value and the problem of periodization, tracing how literary tastes, particular reader communities, and sites of literary learning shape the organization of literature in historical perspective. Rather than suggesting a political critique of the canon, this book shows that the production of literary relevance and its tacit hierarchies of value are necessary consequences of how reading and writing are organized as social practices within different fields of literary activity. ‘Reading the Canon’ offers a comprehensive theoretical account of the conundrums still defining contemporary debates about literary value; the book also features a series of historically-inflected author studies—from classics, such as Shakespeare and Thomas Pynchon, to less likely figures, such as John Neal and Owen Johnson—that illustrate how the idea of literary relevance has been appropriated throughout history and across a variety of national and transnational literary institutions.
