Melodrama and Narrative Fiction: Towards a Typology

Recent research on melodrama has stressed its versatility and ubiquity by approaching it as a mode of expression rather than a theatrical genre. A variety of contexts in which melodrama is at work have been explored, but only little scholarly attention has been paid to the relationship between melodrama and novels, short stories and novellas. This article proposes a typology of melodrama in narrative prose fiction, examining four different categories: Melodrama and Sentimentalism, Depiction of Melodramatic Performances in Narrative Prose Fiction, Theatrical Antics and Aesthetics in Narrative Prose Fiction and Meta-Melodrama. Its aim is to clarify the ways in which melodrama, ever since its early days on the stages of late eighteenth-century Europe, has interacted with fictional prose narratives, thereby shaping the literary imagination in the Anglophone world.

Zoë Wicomb's Ghosts. Uncanny Translocations in David's Story and The One That Got Away

This essay analyses Zoë Wicomb's novel David's Story and her latest collection of short stories, The One That Got Away, through the lense of cosmopolitanism and Jacques Derrida's concept of ‘hauntology’. Wicomb is a cosmopolitan author in a very precise sense: an author who embeds locally specific stories in a complex intertextual, historical and transnational web of cross-references. As settings, characters and objects move between Scotland and South Africa, it appears that the histories of these countries are mutually haunted by each other. Uncanny encounters with the past, and with memorials and art objects that take on a spectral quality, evoke an increasing sense of disorientation on the part of protagonists and readers alike. Assumptions about place, history and identity are thus constantly undermined and reconfigured.

Timely Tenses: Considering Present Tense Narration

When the jury of the Man Booker Prize 2010 chose three novels for their short-list that were written in present tense they earned some harsh criticism. To some, like Philipp Pullman, present tense narration seemed to be no more than an annoying fad, “a silly affectation,” which he criticises as a limitation to narrative possibility.1 Nevertheless, present tense narration is spreading fast, not only among Booker Prize nominees and winners. Indeed, it has become so common that it hardly seems to draw much attention anymore. But what is the appeal of present tense narration to contemporary authors? What effect does the choice of present tense narration have on the ways stories are told and read? This paper will address and compare the use of present tense narration in recent British novels by authors such as Hilary Mantel (Wolf Hall, Bring up the Bodies), Ali Smith (Hotel World, The Accidental ), Tom McCarthy (C) and others, looking for similarities and differences in their respective narrative rationale. In view of the heterogeneous and complex use of present tense in contemporary fiction, I would like to suggest, merely pointing to the pace of contemporary life and the simultaneity of new communication media does not suffice to adequately address a phenomenon that has become a characteristic feature of 21st century narration. 1 Laura Roberts. “Philip Pullman and Philip Hensher criticise Booker Prize for including present tense novels.” The Telegraph. 11. Sept. 2010.

Workshop: ASSIP - Attempted Suicide Short Intervention Program. Theory, Practice, and 24 Months Follow-up RCT.

Background: ASSIP is a manualized brief therapy based on a model of suicide as goal-directed action, aimed at establishing a therapeutic alliance in a patient-oriented, collaborative approach. The main goals of the three-session program ASSIP are for patients to understand, from an observer’s position, patterns leading to a suicidal crisis, recognize triggers and warning signs, and to establish individual safety strategies for future suicidal crises. An ongoing therapeutic support is provided with regular letters over 24 months. Method: The study was conducted in a naturalistic setting. 120 Patients were randomly assigned to an intervention group (60 participants) treated with ASSIP combined with follow-up contact through letters, and a control group (60 participants) receiving a single session of clinical assessment. Both groups had treatment as usual. Patients completed a set of psychosocial and clinical questionnaires every six months over a period of 24 months. Results: In the ASSIP group 5 patients made a total of 5 reattempts, compared to 15 patients with 41 reattempts in the control group. The survival analysis yielded a significant difference with a Wald Chi2 of .000003. The ASSIP group had significantly lower suicidal ideation and fewer days of inpatient treatment compared to the control group. Higher scores in the Penn Helping Alliance Questionnaire were associated with lower suicidal ideation during follow-up. Conclusions: ASSIP is a highly effective brief therapy for patients with recent suicide attempts. Forming a strong therapeutic alliance is considered to be a major factor for outcome. ASSIP can be used with minimal training by experienced therapists. An English version of the manual will be published in May 2015.