Search Results (62)

The writing scene in East Africa has witnessed a rise in the emergence of contemporary literature. One example is Dust, a 2014 novel by the Kenyan Yvonne Adhiambo Owuor, who, in 2003, was awarded the Caine prize for African writing. The novel Dust has been reviewed from various angles. Dust introduces two female characters, Akai and Ajany, who are both connected to a key character in the novel: Odidi Oganda. How do the characters Akai and Ajany exemplify forms of hybrid identity shaped by colonial and diasporic contexts? This essay is about these two female characters who provide adequate material with which to explore hybrid identities during the colonial period and in the diaspora. Both experience trauma, which impacts their associations in their local communities and in the diaspora. Akai is tremendously affected by colonialism. She is a contract laborer impregnated by a British colonial settler who later attempts to kill her. Ajany moves in with an abusive man, whom she stabs to death in self-defense right before fleeing Brazil as a fugitive. This essay uses a Postcolonial Feminist lens to explore how these two characters propagate cultural resilience, challenge nationalist narratives, and demonstrate resistance. It employs the method of Narratological Text Analysis in order to present Akai and Ajany in their particular contexts. For analysis, the essay adopts a dialectical type of literary theorising. Full article

Addressing the prevalent issue of “physical preservation but spiritual silence” in the revitalisation of China’s national industrial heritage, this study proposes and empirically validates a “dual-track narrative” design framework that systematically translates cultural values into spatial experiences. The framework integrates a “figure–history” narrative, which crystallises historical lineage and symbolic spirit through spatial sequences, commemorative landmarks, and authentic remains, with a “scene–activity” narrative, which transforms former production spaces into dynamic, culturally vibrant stages through ecological restoration displays, industrial landscape transformation, and flexible activity implantation. Using Nantong Guangsheng Oil Mill as a single-case study, the research employs qualitative methods including archival analysis, field observation, and semi-structured interviews to examine how the dual-track framework operates in practice. The findings reveal that the “figure–history” narrative manifests in a walkable “time corridor” along the north–south axis, where architectural remnants from different eras are organised to materialise Zhang Jian’s industrial salvation ethos and the collective memory of generations of workers. Meanwhile, the “scene–activity” narrative activates underutilised spaces—such as the repurposing of acid treatment ponds into constructed wetlands and paved grounds into public stages—enabling ongoing cultural production, community interaction, and ecological healing. The study demonstrates that the dual-track framework bridges the historical and contemporary dimensions often treated separately in heritage practice, establishing a systematic “translation mechanism” from cultural decoding to design intervention. Theoretically, it contributes to industrial heritage research by integrating narratology, memory studies, heritage interpretation, and situationism into a coherent design methodology. Practically, it offers decision-makers evaluation criteria beyond the preservation-versus-development binary, provides designers with a mode of creative transformation grounded in material authenticity, and suggests to operators a content-driven, event-based model for sustaining heritage spaces. By spatialising and eventising narratives, the dual-track approach enables industrial heritage to function as a catalyst for cultural identity, social vitality, and economic sustainability, offering a transferable paradigm for the adaptive reuse of industrial heritage in contemporary urban contexts. Full article

Desire, a transformative force, is one of contemporary serial narratives’ most intricate and multifaceted dimensions. Far from being reducible to a mere representation of sexual attraction, desire in television seriality operates as a prism through which to explore issues of intimacy, identity, and power. This paper seeks to analyze how desire is staged and problematised within a set of emblematic series that have significantly shaped contemporary cultural imagination. Grey’s Anatomy explores the entanglement of desire with professional life, emotional fragility, and collective trauma, constructing narratives where eros intersects with affective labour and the negotiation of identity within high-pressure contexts. Sex and the City proposes a very different model, placing female desire at the centre as a space of autonomy, experimentation, and confrontation with the normative frameworks of late capitalist society. By contrast, The Handmaid’s Tale reimagines desire within a dystopian theocracy, assigning it an overtly political function: here, erotic impulses and affective attachments become acts of resistance against systemic repression and biopolitical control. More recently, Sex Education embodies a cultural shift, presenting desire through a plural and inclusive lens that embraces diversity of sexual orientation, gender identity, and relational practices. These case studies, when viewed collectively, reveal how television series rework cultural codes of sexuality and intimacy, producing new imaginaries of the body, pleasure, and identity. In this perspective, serial narratives emerge as key cultural laboratories, reproducing and challenging dominant ideologies of desire while offering audiences opportunities for recognition, critique, and affective engagement beyond the screen. Full article

This article offers the first systematic analytical methodology to understand distant play as a multidimensional, ludoliterary, critical, and philosophical practice of engaging with so-called idle or semi-idle games. It uses Anselm Pyta’s The Longing, a so far underexplored semi-idle, slow game that challenges traditional gameplay paradigms through its metareferential, bookish, philosophical, and contemplative structure, as a case study. Our central argument is that The Longing deploys antimimetic temporal mechanics, interpassive forms of bookish play, and ideas of existentialist resistance to explore themes of time, agency, and existential longing, thereby offering a reflective space for dealing with neo-liberal, post-pandemic, polycrisis-stricken angst. To come to terms with the multidisciplinary complexities of the game, our paper adopts a triadic analytical methodology interweaving insights from postclassical, medium-specific narratology, platform-comparative literary analysis, and existentialist philosophy. This combined approach transcends existing ludoliterary frameworks and accounts for divergent forms of play. Our first focus is the game’s multiscalar temporal layering and the strategies it requires from players to “ludify” antimimetic frictions between those layers. This is followed by an examination of how the game constructs a bookish player by interweaving ludexical processes of reading, unreading, dis-reading, and writing (in) books and other printed documents. Finally, we turn to the game’s complex interpassive relationships between player, player-character, and game world, highlighting in particular the role of walking, collecting, building, and searching as acts of catharsis and rebellion, and examining failure as a valid ludic alternative to survival and happiness. Ultimately, our analysis renders distant play as a form of parasocial resistance, which in The Longing manifests as an affective and philosophically fine-grained combination of more-than-human relationality, care, and relief vis-a-vis the nothingness of lost hope. The game thus offers a new form of e-literary engagement, placing books and their “unnatural,” transmediated affordances front and center while questioning the capitalist undercurrents of contemporary literary media and critiquing a culture of acceleration. Full article

Narrative perspective and focalization mode constitute fundamental elements shaping readers’ cognitive and neural responses during novel comprehension. Despite their theoretical importance in narratology, empirical evidence for their distinct processing mechanisms remains limited. This study employed a multi-method approach combining self-paced reading (N = 103) and functional near-infrared spectroscopy (fNIRS; N = 37) to investigate how narrative perspective (first-person vs. third-person) and focalization mode (internal vs. external) influence reading processes, with emotional valence as a potential moderator. Behavioral results revealed significantly prolonged reading times for third-person narratives compared to first-person narratives, particularly in negatively valenced texts. This effect was most pronounced among individuals with higher social cognitive abilities (low Autism Spectrum Quotient scores). Neuroimaging findings demonstrated distinct neural signatures: first-person narration elicited enhanced activation in the left superior parietal lobule compared to third-person narration, suggesting heightened attentional engagement. Internal focalization triggered greater activation in the left frontopolar cortex relative to external focalization, with negatively valenced texts showing similar enhanced activation patterns in this region. These converging lines of evidence support theoretical distinctions between narrative perspectives and demonstrate that first-person narration possesses higher cognitive salience during processing, while internal focalization more effectively engages readers’ metacognitive and empathetic neural systems. The findings provide empirical validation for longstanding narratological debates and illuminate the neurocognitive architecture underlying literary comprehension. Full article

This article critically examines the growing interest in what most contemporary scholars consider still a new and underdeveloped mode of environmental storytelling in video games. Different models of games that provide strong narrative techniques within highly detailed, environmentally sophisticated land/soundscapes have been released over the last decade by well-known studios like Fullbright Productions, Giant Sparrow and Campo Santo. This new perspective will draw several critical questions formed from prior research in several foundational articles, the area of game studies and several journals directed at the question of how game spaces function as narrative devices. For example, an early 2016 article by John Barber for the Cogent Arts and Humanities, “Digital storytelling: New opportunities for humanities scholarship and pedagogy” was one of the first essays to explore how Fullbright’s well-known game Gone Home utilizes spatial design, object placement, and ambient details to convey stories without explicit narration. Gone Home, according to Barber and many others, continues to emphasize environmental storytelling as a form of semiotic communication—one where the “text” is the game world itself, inviting players to read and interpret more complex layers of literary meaning. Contemporary scholars have built on these more foundational studies to consider how AI and procedural generation further complicate narrative agency and structure in digital spaces, enabling the current study to consider what could be considered a distinctly post-AI theoretical perspective based upon these primary determinants: (a) how game environments may dynamically adapt narratives in response to player interaction and algorithmic input, and (b) the evolving notion of narrative agency in digital spaces where human and machine contributions intertwine in AI systems. The two chief aims of this proposal are thus to reconsider traditional environmental storytelling within new innovative, post-GenAI narrative frameworks and, looking at contemporary insights from leading examples in the field, deepen current academic understandings of narrative spaces in games from new narratological perspectives. Studies in this area seem uniquely valuable, given the rapid development of GenAI tools in creative content production and what appears to be a new epoch in narrative engagement in all interactive media. Full article

This study leverages emotional arc modeling along with close reading to examine the Chinese Ye Xian, Perrault’s Cendrillon, and two Grimm versions. While computational modeling suggests that Cinderella tales share similar “recognition scaffolds,” their emotional architectures reflect distinct moral universes. Story peaks and valleys vary according to individual narrative resolutions to a universal problem of virtue unrecognized. Ye Xian descends to maximum negative sentiment when sacred bonds rupture, aligning with Buddhist-Daoist ethics in which divine-human reciprocity supersedes other bonds. Perrault’s arc offers surprising asymmetry: linguistic violence (Culcendron) defines every valley, while material transformation marks every peak. The 1812 Grimm tale oscillates between degradation and elevation with peaks and valleys suggestive of a syncretism between folk magic and Protestant theology. The 1857 version flattens into a rough semblance of Perrault’s emotional architecture, but peaks and valleys reflect Protestant, rather than aristocratic, values. These many shapes of Cinderella suggest fairy tales may serve as a flexible emotional technology. Themes of good and evil are key features of these emotional architectures, but how they are expressed vary from tale to tale. Full article

This paper introduces the GOLEM ontology, a novel framework designed to provide a structured and computationally tractable representation of narrative and fictional elements. Addressing limitations in existing ontologies regarding the integration of fictional entities and diverse narrative theories, our model extends CIDOC CRM and LRMoo and leverages DOLCE’s cognitive foundations to provide a flexible and interoperable framework. The ontology captures complexities of narrative structure, character dynamics, and fictional worlds while supporting provenance tracking and pluralistic interpretations. The modular structure facilitates alignment with various literary and narrative theories and integration of external resources. Future work will focus on expanding domain-specific extensions, validating the model through larger-scale case studies, and developing a reader response module to systematically model the reception of narratives. By fostering interoperability between literary theory, fan cultures, and computational analysis, this ontology lays a foundation for interoperable comparative research on narrative and fiction. Full article

For this article, we reviewed and synthesized narratological theories on reliability and unreliability and used them as the basis for an exploratory study, examining how real readers respond to a literary short story that contains several unreliable or conflicting narrative accounts. The story we selected is “In a Grove” by Ryūnosuke Akutagawa (orig. 藪の中/Yabu no naka) from 1922 in the English translation by Jay Rubin from 2007. To investigate how readers evaluate trustworthiness in narrative contexts, we combined quantitative and qualitative methods. We analyzed correlations between reading habits (i.e., Author Recognition Test), cognitive traits (e.g., Need for Cognition; Epistemic Trust), and trust attributions to characters while also examining how narrative sequencing and character-specific reasons for (dis)trust shaped participants’ judgments. This mixed-methods approach allows us to situate narrative trust as a context-sensitive, interpretive process rather than a stable individual disposition. Full article

This paper proposes a formal descriptive model for understanding the evolution of characters in detective fiction from the 19th to the 20th century, using methodologies and technologies from the Semantic Web. The integration of Digital Humanities within the theory of comparative literature opens new paths of study that allow for a digital approach to the understanding of intertextuality through close reading techniques and ontological modelling. In this research area, the variety of possible textual relationships, the levels of analysis required to classify these connections, and the inherently referential nature of certain literary genres demand a structured taxonomy. This taxonomy should account for stylistic elements, narrative structures, and cultural recursiveness that are unique to literary texts. The detective figure, central to modern literature, provides an ideal lens for examining narrative intertextuality across the 19th and 20th centuries. The analysis concentrates on character traits and narrative functions, addressing various methods of rewriting within the evolving cultural and creative context of authorship. Through a comparative examination of a representative sample of detective fiction from the period under scrutiny, the research identifies mechanisms of (meta)narrative recurrence, transformation, and reworking within the canon. The outcome is a formal model for describing narrative structures and techniques, with a specific focus on character development, aimed at uncovering patterns of continuity and variation in diegetic content over time and across different works, adaptable to analogous cases of traditional reworking and narrative fluidity. Full article

This article utilizes canonical interpretation to reassess Paul’s eulogy in Ephesians 1:3–14 by situating it within the Bible’s overarching narrative of placemaking—from Genesis to Revelation. Rejecting purely historical-grammatical approaches, the study treats the Protestant canon as a unified literary and theological whole with both divine and human authorship. Drawing on intertextual methods, especially the work of NT Wright and David Larsen, the author frames Paul’s eulogy as a theological “mini narrative” nested within the grand canonical mission: God’s purpose to create and dwell with His family in a holy place (God’s house as God’s home with His family in God’s homeland). The article argues that this placial mission undergirds themes of election, redemption, sonship, administration, and land inheritance within the eulogy, connecting creation’s foundation with eschatological summation in Christ. The analysis incorporates spatial theory and narratology to illuminate Paul’s understanding of the world as contested territory where the church advances God’s mission. In doing so, it reveals the eulogy as a densely intertextual and theologically coherent passage that situates believers within God’s cosmic, administrative plan for new creation and divine habitation. The implication for resurrection and new creation, based on this grand canonical mission and on God’s all-encompassing master plan, is asserted as part of this unified plan. Full article

This article re-examines Julio Cortázar’s “Continuity of Parks” (1956) and “Instructions for John Howell” (1963) through the lens of reader-response theory, hermeneutics, and cognitive narratology. Traditionally viewed as examples of the fantastic, these stories are interpreted here as complementary explorations of passive and active reading, offering a literary dialectic that parallels the reflections articulated in Cortázar’s Rayuela [Hopscotch] (1963). Drawing on Wolfgang Iser’s theories of textual gaps and reader cooperation, Paul Ricoeur’s hermeneutics of appropriation, and more recent approaches to cognitive immersion and narrative engagement, this study argues that both stories dramatize reading as an ethical and political act. “Continuity of Parks” illustrates the dangers of uncritical textual consumption, culminating in the protagonist’s epistemic and existential annihilation, while “Instructions for John Howell” presents a model of insurgent readership, where the spectator’s appropriation of the play foregrounds the risks and possibilities of narrative intervention. By analyzing the use of metalepsis, destabilized focalization, and narrative layering in these stories, this article highlights how Cortázar anticipates contemporary concerns regarding reader agency, interpretive autonomy, and the sociopolitical implications of literary engagement. Full article

I argue that the universally accepted assumption that in realist fiction a character narrator’s narration contributes to their characterization needs to be complicated. Working with a conception of narrative as rhetoric that highlights readerly interest in the author’s handling of the mimetic, thematic, and synthetic components of narrative, I suggest that the question about narration as characterization is one about the relation between the mimetic (character as possible person) and synthetic (character as invented construct) components. In addition, understanding the mimetic-synthetic relation requires attention to issues at the macro and micro levels of such narratives. At the macro level, I note the importance of (1) the tacit knowledge, shared by both authors and audiences, of the fictionality of character narration, which means authors write and readers read with an interest in its payoffs; and of (2) the recognition that character narration functions simultaneously along two tracks of communication: that between the character narrator and their narratee, and that between the author and their audience. These macro level matters then provide a frame within which authors and readers understand what happens at the micro level. At that level, I identify seven features of a character’s telling that have the potential to be used for characterization—voice, occasion, un/reliability, authority, self-consciousness, narrative control, and aesthetics. I also note that these features have their counterparts in the author’s telling. Finally, I propose that characterization via narration results from the interaction between the salient features of the character’s telling and their counterparts in the author’s telling. I develop these points through the analysis of four diverse case studies: Mark Twain’s Huckleberry Finn, Robert Browning’s “My Last Duchess,” Nadine Gordimer’s “Homage,” and Ernest Hemingway’s A Farewell to Arms. Full article

The Traditio Apostolica presents, within the context of Christian baptism, first the water baptism accompanied by a profession of faith, followed by prayer with the laying on of hands. The purpose of this initiation process is the forgiveness of sins, which is more strongly implied in the water rite, and the gift of the Spirit, which is implied in the laying on of hands. This sequence of baptism and laying on of hands, in connection with faith and Spirit reception, is also evident in Acts 19:1–7. Apart from Acts 8:5–25, however, it is the only passage that links baptism with laying on of hands followed by Spirit reception. Moreover, it is the only instance of a rebaptism within the Lukan double work. The focus of this article is not primarily on the question of the historicity of this rite during the New Testament period but on a narratological-intratextual analysis of the relationship between baptism and Spirit reception, that is, to what extent the reader, against the background of the preceding narrative in Luke-Acts, is led to an understanding of this relationship and its significance for becoming a Christian. The article argues that faith plays a decisive role in the Christian initiation process. Full article

Autofiction often interweaves the (phenomenologically) real and the unreal. It is definitionally in some way about the author as a real-life person but also frequently features elements that are impossible by real-life standards, or at least seem highly unlikely. This article argues that autofiction provides a training ground for imaginative acts and has the potential to change our understanding of what is possible, not only in literature but also in life. This article substantiates this hypothesis by integrating models from Text World Theory, Unnatural Narratology, and a Predictive-Processing account of reading, as well as neuroscientific research on the default mode network and on literary writing and reading. The article finally draws on reader responses from the platform “Goodreads” as tentative evidence for how autofictional texts affect intuitions about the (im)possible. Full article