The Implied Book and the Narrative Text. On a Blind Spot in Narratological Theory - from a Media Studies Perspective

The article is concerned with the formal definition of a largely unnoticed factor in narrative structure. Based on the assumptions that (1) the semantics of a written text depend, among other factors, directly on its visual alignment in space, that (2) the formal structure of a text has to meet that of its spatial presentation and that (3) these assumptions hold true also for narrative texts (which, however, in modern times typically conceal their spatial dimensions by a low-key linear layout), it is argued that, how ever low-key, the expected material shape of a given narrative determines the configuration of its plot by its author. The ,implied book' thus denotes an author's historically assumable, not necessarily conscious idea of how his text, which is still in the process of creation, will be dimensionally presented and under these circumstances visually absorbed. Assuming that an author's knowledge of this later (potentially) substantiated material form influences the composition, the implied book is to be understood as a text-genetically determined, structuring moment of the text. Historically reconstructed, it thus serves the methodical analysis of structural characteristics of a completed text.

Evaluation and revision of inferential comprehension in narrative texts: an eye movement study

We investigated the processes of how adult readers evaluate and revise their situation model during reading by monitoring their eye movements as they read narrative texts and subsequent critical sentences. In each narrative text, a short introduction primed a knowledge-based inference, followed by a target concept that was either expected (e.g., “oven”) or unexpected (e.g., “grill”) in relation to the inferred concept. Eye movements showed that readers detected a mismatch between the new unexpected information and their prior interpretation, confirming their ability to evaluate inferential information. Just below the narrative text, a critical sentence included a target word that was either congruent (e.g., “roasted”) or incongruent (e.g., “barbecued”) with the expected but not the unexpected concept. Readers spent less time reading the congruent than the incongruent target word, reflecting the facilitation of prior information. In addition, when the unexpected (but not expected) concept had been presented, participants with lower verbal (but not visuospatial) working memory span exhibited longer reading times and made more regressions (from the critical sentence to previous information) on encountering congruent information, indicating difficulty in inhibiting their initial incorrect interpretation and revising their situation model

Writing the Unspeakable: an Ethical Approach to a Traumatized Narrative

This project uses the works of contemporary author Tim O’Brien, whose fiction often performs the trauma of the Vietnam War, to explore new ways of encountering the traumatized text. Informed by Emmanuel Levinas’s ethics of the face, and Sigmund Freud’s and Dominick LaCapra’s work on the narratology of the melancholic and the mourner, I consider the different ways we respond to the suffering Other and explore the paradox that through reading a traumatized narrative empathically we may come face-toface, as it were, with the suffering Other. If this is indeed the case, I reason, then the obligations that are due to the Other are also due to the text itself.

Final Narrative

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Narrative

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My Narrative

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Final Narrative

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U ST 205 Final Narrative

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Final Narrative

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Final Narrative

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My time at Iowa State: A Textual/Photo Narrative

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Christopher Columbus and the New world of his discovery; a narrative

Mode of access: Internet.

The captive in Patagonia; or, Life among the giants : a personal narrative /

Bound in blue-green cloth, stamped in gold and blind; yellow endpapers.

In the prison city, Brussels, 1914-1918, a personal narrative,

Mode of access: Internet.