Interactional Particles and Narrative Voices in Apollonius and Homer

Caeculus ◽  
2005 ◽  
Vol 6 (0) ◽  
pp. 35-69 ◽  
Author(s):  
Martijn CUYPERS
Keyword(s):  
Narrative Voices ◽  
Interactional Particles

scholarly journals The Interlocutor in Print and Digital Fiction: Dialogicity, Agency, (De-)Conventionalization

2018 ◽  
Vol 6 (3) ◽  
pp. 21-34
Author(s):  
Astrid Ensslin
Keyword(s):  
Sense Of Agency ◽  
Keyboard Input ◽  
Narrative Functions ◽  
The Media ◽  
Physical Interactions ◽  
Narrative Voices

Digital fiction typically puts the reader/player in a cybernetic dialogue with various narrative functions, such as characters, narrative voices, or prompts emanating from the storytelling environment. Readers enact their responses either verbally, through typed keyboard input, or haptically, through various types of physical interactions with the interface (mouseclick; controller moves; touch). The sense of agency evoked through these dialogic interactions has been fully conventionalized as part of digital narrativity. Yet there are instances of enacted dialogicity in digital fiction that merit more in-depth investigation under the broad labels of anti-mimeticism and intrinsic unnaturalness (Richardson, 2016), such as when readers enact pre-scripted narratees without, however, being able to take agency over the (canonical) narrative as a whole (Dave Morris’s Frankenstein), or when they hear or read a “protean,” “disembodied questioning voice” (Richardson, 2006: 79) that oscillates between system feedback, interior character monologue and supernatural interaction (Dreaming Methods’ WALLPAPER). I shall examine various intrinsically unnatural examples of the media-specific interlocutor in print and digital fiction and evaluate the extent to which unconventional interlocutors in digital fiction may have anti-mimetic, or defamiliarizing effects.

Charlotte Brontë’s Gothic Fragment: ‘The Story of Willie Ellin’

2021 ◽  
Vol 11 (1) ◽  
pp. 20-37
Author(s):  
Deborah Wynne
Keyword(s):  
Physical Abuse ◽  
Premature Death ◽  
Jane Eyre ◽  
New Directions ◽  
Unique Aspect ◽  
Working Practices ◽  
Generic Instability ◽  
Narrative Voices

Charlotte Brontë’s eighteen-page fragment, ‘The Story of Willie Ellin’, written shortly after the publication of Villette in 1853, combines the gothic and realism and uses multiple narrators to tell a disturbing story of cruelty towards a child. The generic instability and disordered temporal framework of this fragment make it unlike anything Brontë had previously written, yet it has attracted the attention of few scholars. Those who have discussed it have condemned it as a failure; the later fragment ‘Emma’, also left incomplete by the author's premature death, has been seen as the more likely beginning of a successor to Villette. ‘The Story of Willie Ellin’ reveals Brontë at her most experimental as she explores the use of different narrative voices, including that of an unnamed genderless ‘ghost’, to tell a story from different perspectives. It also shows Brontë representing a child's experience of extreme physical abuse which goes far beyond the depictions of chastisement in Jane Eyre (1847). This essay argues that ‘The Story of Willie Ellin’ affords rich insights into Brontë’s ideas and working practices in her final years, suggesting that it should be more widely acknowledged as a unique aspect of Brontë’s oeuvre, revealing the new directions she may have taken had she lived to complete another novel.

The utility of narrative voices in the federal procurement contract

2018 ◽  
Vol 4 (1-2) ◽  
pp. 58-74
Author(s):  
L Maria Ingram ◽  
Laura S Jensen
Keyword(s):  
Procurement Contract ◽  
Procurement Contracts ◽  
Federal Procurement ◽  
Narrative Voices ◽  
Insight Into

Federal procurement contracts incorporate multiple narrative voices representing a range of individual and organizational interests. We examine these contract voices as they act in, and speak from, a range of roles relevant to federal procurement, such as marketplace participants, taxpayer-citizens, chief adjudicator, and sovereign. Like tapestries, federal procurement contracts are made from textual threads that are woven, cut, tailored, and embellished to depict a particular cast of characters acting in accord with an underlying script. Recognizing this yields insight into the governmental values depicted within each contract’s formally structured, deliberately crafted pages.

Hearing Narrative Voices in Melville's Pierre

boundary 2 ◽  
1990 ◽  
Vol 17 (1) ◽  
pp. 100 ◽  
Author(s):  
Priscilla Wald
Keyword(s):  
Narrative Voices

Narrative Voices in Yangzhou Storytelling

CHINOPERL ◽  
1995 ◽  
Vol 18 (1) ◽  
pp. 1-31
Author(s):  
Vibeke Berdahl
Keyword(s):  
Narrative Voices
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