Narrative Difference: Jacques Rancière, Gilles Deleuze and Uncle Boonmee Who Can Recall His Past Lives

How should critics approach narrative temporality in times of ecological disorder? Literary critics have attempted to bridge eco-criticism with narrative theory, shifting attention from narrative content to narrative form. Econarratology studies how narrative shapes our understanding of the environment. Yet, eco-critical interrogations of narrative form are lacking. Grounded in a homogeneous conception of time, narratology often relays a dichotomy between narrativity and “dysnarrativity”. This dichotomy fails to translate the variety of temporal processes in film. I shall highlight the problem underlying Jacques Rancière's critique of Deleuze's film-philosophy and its relevance for narrative theory. My discussion of this dispute is grounded in the examination of Apichatpong Weerasethakul's Uncle Boonmee Who Can Recall His Past Lives (2010). Critics invariably base their analyses on Boonmee's remembrances and reduce narrative complexity to dysnarrative indeterminacy by accommodating non-human storylines into a human plot. I argue that Uncle Boonmee both confirms and bypasses the critique of linear narrative that is at heart of the Rancière-Deleuze discussion. In doing so, Weerasethakul's feature calls for a new paradigm – different, yet unlike the crystalline narrative, positively determined. By bringing the event to the fore, Deleuze offers another theoretical backdrop for event narratology, that in turn proves useful to econarratology.

The ordinary, cultures, and management: the organizing processes within the handicraft sector in Piúma (ES), Brazil

This article aims to understand the ordinary management of the resistances and forms of survival, organized in everyday practices that are in part product and producers of cultural plurality in the field of handicrafts in the city of Piúma, Brazil. From the perspective of practice-based studies (Feldman & Orlikowski, 2011), we articulate theoretically the approach of ordinary management (Carrieri, Perdigão & Aguiar, 2014) of craft production (Sennett, 2009) and the certeaunian contributions. These contributions are directed towards the recognition of the games of force relations within a cultural plurality. In proposing the focus on this plurality, this article fills a gap, because in previous studies on ordinary management, this cultural plurality has not been specifically addressed. The proposal was supported by a qualitative research, accomplished through document collection, participant observation, and unstructured interviews with five artisans from Piúma. In the analysis of the data, we articulate the narrative practice in De Certeau (1985) and narrative temporality in Ricoeur (1994). As results, we identify different networks of force relations in which artisans are involved in organizing practices of ordinary management. In them, cultures have shown themselves as plural productions, moving away from the view of a popular culture, external to everyday practices or submissive to other external pressures. This article contributes to an alternative view at the Ordinary Management of handicrafts and other organizational actions based on cultural plurality.

Plastic Form

This chapter discusses Henry James's The Golden Bowl (1904). It shows how James's sculptural aesthetics, elaborated through a series of ornate metaphors, encompasses not only sculptural objects but also the viewing practices and temporalities associated with sculpture. Such viewing in the round, with its frequent retreading of old ground, creates the surface texture of James's, at times, almost impenetrable prose. Viewing in the round also activates a narrative temporality that renders the novel as a dynamic form to be processed over time, revisited, and reviewed. The Golden Bowl thus helps one to see that novelistic engagement with the fine arts does not produce self-contained, static, spatial form. Instead, shifts in perspective and point of view as James's characters circle sculptural objects—and as readers make their way around the novel—reinvent the novel as an experiment in plastic form.

Narrative, Temporality and the Modernist City

<p>The article explores the idea of temporality in relation to high-modernist literary representations of London. I claim that the modernist metropolis appears as a palimpsest whose memorialising function is upheld by techniques such as fragmentation, citation, myth, allegory, intertextual references or allusions, which question the stereotypical relationship between then and now, subject and site. It does so by deconstructing traditional temporal sequences and by foregrounding a subtle connection between past and present. Thus, the modernist city will be considered as a space of transformation in which the substantialness of space and subjective time translates the elusive meaning of contemporary history. </p><p> </p>

CONCEPT OF NARRATIVE ANALYSIS AND BASIC APPROACHES

The article is devoted to a general overview of the concept of narrator, an analysis of its main characteristics and functions as an important subject of the science of storytelling. Considerable attention is paid to the definitions of the category of narrator by domestic and foreign linguists and to the typology of the narrator. The problems of identifying narrative categories have been identified. The concept of a narrative structure according to V.Ya. Propp. The functions of the narrator in the literary text are determined and an attempt is made to classify them. The aim of the article is to theoretically substantiate the concept of narrative analysis. One of the main categories of narratology is the category of the narrator. The article describes in detail the concept of narrative temporality (time), which is one of the most important properties of narrative works. The problem of actualization of narrative discourse in literary studies arises not by chance - the contours of the new methodology are largely determined by the possibility of multiple theoretical modifications of the modern research process.The narrator, as the central essence of the concept, arises as a complexly organized subject with many ways of his own expression, an intermediary between the real world, to which the biographical author belongs, and the fictional world of a work of art; depicted by the symbolically significant world of the literary work and the cognitive competence of the reader. The narrator's phenomenon is diverse and multifaceted. Each new work of art is a new narrator. That is why the problem of grammatical manifestations of the narrator and his typology open a wide space for further theoretical and practical research in the field of narratology and semantics of discourse. Due to the considerable freedom of the text, the narrator has the opportunity to penetrate into the inner world of the characters, to address the readers, to enter into controversy with the author. The problem of the narrator in fiction opens wide opportunities for further theoretical and practical research in the field of narrative science and semantics of discourse.

L’IMAGE DU MONTENEGRO ET UN POINT DU VUE SUR LA NARRATION DANS LETTRES SUR L’ADRIATIQUE ET LE MONTENEGRO DE XAVIER MARMIER

IMAGE OF MONTENEGRO AND VIEWPOINT ON NARRATION IN XAVIER MARMIER’S LETTERS ON THE ADRIATIC AND MONTENEGRO In the present article, we intend to present Letters on the Adriatic and Montenegro by Xavier Marmier, a French traveller and writer who took many trips around the world, including Montenegro in 1852. His journey is described in two volumes, and the second one is mainly devoted to Montenegro (six out of eight chapters). He spent two months in Montenegro and wrote a beautiful testimony of this period, relying on the historical facts, testimonies of the inhabitants and on his personal impressions. In the first part of our paper, we provide a summary of his writing on Montenegro, focusing on points such as the historical context, the living conditions of the people, as well as on their customs and traditions. In the second part, we propose a reflection on the narration and more precisely on the narrative temporality in this work. We seek to identify the different temporal markers in order to explain the use of certain tenses in the narrative. Key words: Montenegro, Xavier Marmier, travel writing, narration, temporality

George Moore’s Untimely Bildung

Writing at the end of the nineteenth century, George Moore’s realist experiments both consolidated a realist movement in England and actively challenged institutions like circulating libraries that shaped the development of mid-century realism. But despite Moore’s importance to the institutionalisation of realism in England and the flourishing of naturalism in Ireland, he remains woefully understudied in part because of his performative, often comic, refusal of institutions. This chapter takes this performance seriously as it focuses on his revisions to the realist Bildungsroman in the ‘English’ Esther Waters (1894) and the ‘Irish’ A Drama in Muslin (1886). In both of these novels of development, Moore claims that public institutions and private growth are at odds. A Drama in Muslin adopts an explicitly anachronistic narrative temporality that refuses to allow the protagonist’s individual development to represent national development while Esther Waters validates the protagonist’s stasis over time – her illiteracy despite education. Combining an anti-institutional impulse with an anachronistic narrative temporality, Moore questions the institutionalised assumptions of what constitutes proper growth.

Postmodernist Play within Different Text Levels in There But For The by Ali Smith

Postmodern play is one of the important characteristics of modern fiction; it often acts as a text-forming element of the literary work. Literary play is manifested within different text levels and literary discourse strategies: the narrative, composition, imagery, diction, narrative temporality and modality, the technique of metanarrative. The present paper features the poetics of play within different text levels and literary discourse strategies in the novel by contemporary Scottish writer Ali Smith "There But For The". At the level of the novel’s narrative, the play manifests itself in the confusion of reality and fantasy, imagination and actual memory in the characters' internal speech. At the level of composition, the author plays with the readers, giving them an opportunity to find some "key" that will connect the four chapters of the novel and the prologue; the characters and connections between them are sometimes also a mystery. Within the literary strategy of temporality, the following play elements are presented: the contrast between serious reasoning about Time and humorous comments and thematically related pieces of poetry; nonlinear narration; description of events which take place in different time periods in a short context. Within the literary strategy of modality, we can trace the author’s play with the reader and the effect of defeated expectancy. The technique of metanarrative also contains elements of the play: the literary and stylistic means used in the novel are explained both in a serious and a joking manner. The diction of the novel is characterized by usage of stylistic devices of different language levels, their function being that of the play: oxymoron, zeugma, chiasm, holophrasis, different types of morphological repetition, and pun. The results of the study suggest that the introduction of elements of a play into the novel at its different levels makes a sharp contrast with the existential themes of the work. Such a contrast greatly enhances the impact of this novel on the reader and requires further study.