Andrew Gaedtke, Modernism and the Machinery of Madness: Psychosis, Technology, and Narrative Worlds

2020 ◽  
Vol 15 (4) ◽  
pp. 540-542
Author(s):  
Timothy Wientzen
Keyword(s):  
Narrative Worlds

scholarly journals Possible Worlds in Translation: Coleman Barks’s Rendition of a Story from Rumi’s Masnavi

2021 ◽  
Vol 44 (3) ◽  
Author(s):  
Vahid Medhat ◽  
Hossein Pirnajmuddin ◽  
Pyeaam Abbasi
Keyword(s):  
Internal Structure ◽  
English Translation ◽  
Possible Worlds ◽  
Translation Studies ◽  
Original Text ◽  
Main Character ◽  
Source Text ◽  
Narrative Worlds ◽  
The Way

This article applies the theory of possible worlds to the field of translation studies by examining the narrative worlds of original and translated texts. Specifically, Marie-Laure Ryan’s characterization of possible worlds provides an account of the internal structure of the textual universe and the progression of the plot. Based on this account, one of the stories from Rumi’s Masnavi is compared to Coleman Barks’s English translation. The possible worlds of the characters and the unfolding of the plots in both texts are examined to assess the degree of compatibility between the textual universes of the original and the translated texts and how significant this might be. It also examines how readers reconstruct the narrative worlds projected by the two texts. The analysis reveals some inconsistencies in the way the textual universes of the original and translated texts are furnished and in the way readers reconstruct the narrative worlds of the two texts. The inability of translation to fully render the main character results in some loss in terms of the pungency and pithiness of the original text. It is also shown that the source text presents a richer domain of the virtual in comparison, suggesting a higher degree of tellability in the textual universe of the Masnavi’s narrative.

Narrative worlds

2014 ◽  
pp. 169-205
Author(s):  
Aneta Pavlenko
Keyword(s):  
Narrative Worlds

Dream weaving and sonic metalepsis in Jan Troell’s Land of Dreams

2021 ◽  
Vol 11 (3) ◽  
pp. 243-265 ◽  
Author(s):  
Alexis Luko
Keyword(s):  
Public Policy ◽  
Private Sphere ◽  
Human Consciousness ◽  
Sound Effects ◽  
Musical Structures ◽  
The Future ◽  
Swedish Society ◽  
Narrative Worlds ◽  
Political Decisions ◽  
Land Of Dreams

Jan Troell’s Sagolandet (Land of Dreams) (1988) presents itself as a documentary about 1980s Swedish society, but is also a film about filmmaking, the imagination, memory and autobiography. The film has multiple narrative levels: interviews, home movie footage, autobiographical anecdotes and imaginative sequences. Commentary and guiding themes are drawn from the theories of psychoanalyst Rollo May. These strata and themes have associated musical motifs and/or sound effects, which, as the film progresses, serve as an ontological bridge between the different strata. Land of Dreams is structured as both a multistrand and multiform narrative with the intercutting of multiple stories with multiple protagonists (multistrand) mixed with dream worlds and internal-subjective perspectives of Troell (multiform). The different narrative strata invite metalepsis, a type of narrative ‘transgression’ that occurs across the boundaries of distinct narrative worlds. In Land of Dreams, voice, music and sound effects act as metaleptic agents, transgressing different strata through four interrelated techniques: (1) metaleptic ‘i-voices’; (2) musical structures made up of ironic and disjunctive musical textures; (3) musical motifs transgressing narrative and ontological boundaries and (4) musical metaleptic warps. Musical metalepsis in Land of Dreams functions in a way that is emblematic of how political decisions and public policy infiltrate the private sphere, human consciousness and even dreams of the future.

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