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.

Eye movements during mental time travel follow a diagonal line

Recent research showed that past events are associated with the back and left side, whereas future events are associated with the front and right side of space. These spatial-temporal associations have an impact on our sensorimotor system: thinking about one's past and future leads to subtle body sways in the sagittal dimension of space (Miles, Nind, & Macrae, 2010). In this study we investigated whether mental time travel leads to sensorimotor correlates in the horizontal dimension of space. Participants were asked to mentally displace themselves into the past or future while measuring their spontaneous eye movements on a blank screen. Eye gaze was directed more rightward and upward when thinking about the future than when thinking about the past. Our results provide further insight into the spatial nature of temporal thoughts, and show that not only body, but also eye movements follow a (diagonal) "time line" during mental time travel.

The Jew in English fiction

by David Philipson

Prometheus on Mars: Nineteenth-Century Science Fiction and the Language of Romanticism

The development of astrophysics in the nineteenth century drew mankind closer to the planets. For the first time, it was possible to give serious scientific consideration to the possibilities for life on other planets. The greatest leap, however, was in recognizing what was not known, and acknowledging the limits of human intuition. ‘Ideas,’ wrote Agnes M. Clerke, ‘have all at once become plastic’. As the scientific community tested the limits of scientific understanding, it became the role of science-fiction writers to imagine the universe beyond these limits. This paper will examine the ways in which nineteenth-century science fiction used the inheritance of the poetic language of Romanticism to reinstate the centrality of human being in the universe. I will explore the ways in which writers such as Edward Bulwer-Lytton (The Coming Race, 1871) and W. S. Lach-Szyrma (Aleriel, 1883) extended the Byronic hero to envisage extra-terrestrial utopias. The Hegelian systematic mythology described by Byron and Shelley had reimagined paradise and redemption on earth. Through science fiction, this mythology extended out towards the stars. A discourse on the possibilities of extra-terrestrial life became a Romantic discourse on the possibilities of being. The Byronic hero could now find a home not by escaping the shackles of religion, but as an angelic citizen of Venus or Mars. In this way, the paper will explore how science-fiction writers appropriated the language of Romantic poetry to build a bridge between the framework of scientific knowledge and the extent of human imagination.

Von der Bezeugung zur narrativen Vergegenwärtigung. Fokalisierung im Reisebuch des Syrers Ḥanna Dyāb (1764)

Travelogues involve different truth claims, depending on whether their authors attempt on the one hand to convey received knowledge about entities and places, or on the other hand, present accounts of the traveler character’s own experiences. This study focuses on a travelogue from 1764 written by the Arabian Nights’ Syrian storyteller, Ḥanna Dyāb. Having written his travelogue more than 50 years after his trip to Paris, he evidently conceived of his narrative as a means to re-enact his experiences as a young traveler. To describe his particular self-staging in this autodiegetic narration “before fiction” (Paige 2011), I argue that an understanding of focalization as a graded visual mediation between the character’s inner life and the reader is needed. This approach helps one grasp how, with reference to Dyāb’s travelogue, truth is not something the traveler witnesses, but rather something the reader is invited to realize. I conclude that, with this shift from witnessing to visualization (Vergegenwärtigung), Dyāb’s travelogue fulfills a core function of literature.

Hamlet's Mobility: The Reception of Shakespeare's Tragedy in US-American and Canadian Narrative Fiction

This essay presents a comprehensive study of how Hamlet figures in North American fiction. Gabriele Rippl takes her cue from Stephen Greenblatt’s notion of Shakespeare’s ‘theatrical mobility’ (Greenblatt, Cultural Mobility. Cambridge University Press, 2010). This initial mobility, based on the playwright’s own borrowings, appears to facilitate, or even instigate further migrations. Rippl proceeds to give an overview of adaptations of Shakespeare’s Hamlet in the USA and Canada, thus providing an insight into the historical and cultural uses to which the play has been put by authors such as John Updike or Margaret Atwood. Phenomena such as the ‘republicanization’ of Shakespeare (James Fenimore Cooper), or his appropriation for a feminist counter-discourse in Canada circumscribe a space for the negotiation of cultural and political identities.

Agéanax ou l'amour voyageur : fiction érotique tirée de quelques auteurs anciens, principalement des auteurs grecs

Erscheinungsort und Verlag ermittelt im GV-alt