Virtually all theories of satire define it as a criticism of contemporary society. Some argue that satire criticizes the present in favor of a standard of values that has been superseded, and thus that satire is generally backward-looking and conservative. While this is often true of poetic satire, in this study Frank Palmeri asserts that narrative satire performs a different function, that it parodies both the established view of the world and that of its opponents, offering its own distinctive critical perspective.
This theory of satire builds on the idea of dialogical parody in the work of Russian theorist Mikhail Bakhtin, while revising Bakhtin's estimate of carnival. In Palmeri's view, the carnivalesque offers only an inverted mirror image of authoritative discourse, while parodic narrative satire suggests an alternative to both the official world and its inverted opposite.
Palmeri applies this theory of narrative satire to five works of world literature, each of which has generated sharp controversy about the genre to which it rightly belongs: Petronius' Satyricon, Jonathan Swift's A Tale of a Tub, Edward Gibbon's Decline and Fall of the Roman Empire, Herman Melville's The Confidence-Man, and Thomas Pynchon's The Crying of Lot 49. He analyzes the features that link these works and shows how the changing pairs of alternatives that are parodied in these satires reflect changes in the terms of social and cultural oppositions.
Satire in Narrative will appeal to comparatists, specialists in eighteenth-century and American literature, and others interested in theories of genre and the relations between literary forms and social history.
The second phase of the civil rights movement (1965-1973) was a pivotal period in the development of ethnic groups in the United States. In the years since then, new generations have asked new questions to cast light on this watershed era. No longer is it productive to consider only the differences between ethnic groups; we must also study them in relation to one another and to U.S. mainstream society.
In "Shakin' Up" Race and Gender, Marta E. Sánchez creates an intercultural frame to study the historical and cultural connections among Puerto Ricans, African Americans, and Chicanos/as since the 1960s. Her frame opens up the black/white binary that dominated the 1960s and 1970s. It reveals the hidden yet real ties that connected ethnics of color and "white" ethnics in a shared intercultural history. By using key literary works published during this time, Sánchez reassesses and refutes the unflattering portrayals of ethnics by three leading intellectuals (Octavio Paz, Daniel Patrick Moynihan, and Oscar Lewis) who wrote about Chicanos, African Americans, and Puerto Ricans. She links their implicit misogyny to the trope of La Malinche from Chicano culture and shows how specific characteristics of this trope—enslavement, alleged betrayal, and cultural negotiation—are also present in African American and Puerto Rican cultures. Sánchez employs the trope to restore the agency denied to these groups. Intercultural contact—encounters between peoples of distinct ethnic groups—is the theme of this book.
Shifting Stories explores the tale literature of eighth- and ninth-century China to show how the written tales we have today grew out of a fluid culture of hearsay that circulated within elite society. Sarah M. Allen focuses on two main types of tales, those based in gossip about recognizable public figures and those developed out of lore concerning the occult. She demonstrates how writers borrowed and adapted stories and plots already in circulation and how they transformed them—in some instances into unique and artfully wrought tales.
For most readers of that era, tales remained open texts, subject to revision by many hands over the course of transmission, unconstrained by considerations of textual integrity or authorship. Only in the mid- to late-ninth century did some readers and editors come to see the particular wording and authorship of a tale as important, a shift that ultimately led to the formation of the Tang tale canon as it is envisioned today.
Slowness is frequently seen as a response to modernity’s cult of speed and efficiency, and its influence in contemporary culture can be felt in artistic trends such as “slow cinema” or “slow TV.” Despite the popularity of these labels, however, slowness remains undertheorized in contemporary narrative scholarship. What makes a narrative slow, and what conceptual and analytical tools are best suited to account for this slowness? Is slowness a feature of certain narratives, an experiential response to these narratives, or both? How is narrative slowness related to the pace and rhythm of plot, and how does it carry cultural significance?
Slow Narrative across Media illuminates the concept of slow narrative and demonstrates how it manifests across media forms: from short stories to novel cycles, to comics, to music, to experimental film. Led by editors Marco Caracciolo and Ella Mingazova, contributors draw on cognitive and rhetorical approaches to narrative as well as on econarratology to bring into focus both the media-specific ways in which narrative evokes slowness and the usefulness of a transmedial approach to this phenomenon.
Contributors:
Jan Baetens, Raphaël Baroni, Lars Bernaerts, Marco Caracciolo, Karin Kukkonen, Ella Mingazova, Peggy Phelan, Greice Schneider, Roy Sommer, Carolien Van Nerom, Gary Weissman
Social Minds in the Novel is the highly readable sequel to Alan Palmer’s award-winning and much-acclaimed Fictional Minds. Here he argues that because of its undue emphasis on the inner, introspective, private, solitary, and individual mind, literary theory tells only part of the story of how characters in novels think. In addition to this internalist view, Palmer persuasively advocates an externalist perspective on the outer, active, public, social, and embodied mind. His analysis reveals, for example, that a good deal of fictional thought is intermental— joint, group, shared, or collective.
Social Minds in the NovelSocial minds are not of marginal interest; they are central to our understanding of fictional storyworlds. The purpose of this groundbreaking and important book is to put the complex and fascinating relationship between social and individual minds at the heart of narrative theory. The book will be of interest to scholars in narrative theory, cognitive poetics or stylistics, cognitive approaches to literature, philosophy of mind, social psychology, and the nineteenth-century novel.
focuses primarily on the epistemological and ethical debate in the nineteenth-century novel about the extent of our knowledge of the workings of other minds and the purposes to which this knowledge should be put. Palmer’s illuminating approach is pursued through skillful and provocative readings of Bleak House, Middlemarch, and Persuasion, and, in addition, Evelyn Waugh’s Men at Arms and Ian McEwan’s Enduring Love.Ross Chambers shifs the emphasis to precisely the play of authority and mastery by focusing on the narrative situation or the “point” of telling a story in given context. He studies the relation between teller and listener in a set of French, English, and American short stories from the nineteenth and early twentieth centuries and detects in that relationship the key to the power of fiction. In each of these stories, the author identifies the narrative situation by recourse to the metaphor of seduction, a phenomenon Chambers finds characteristic of literary production in the modern period.
“Story and Situation is a powerful work of criticism, the best work in short narrative I know, and will redirect critics’ attention to a form which has always engaged readers but has recently been neglected by literary theorists. . . . It is clear, assured, and intelligently paced.”-Jonathan Culler, Cornell UniversityMaking and experiencing stories, remembering and retelling them is something we all do. We tell stories over meals, at the water cooler, and to both friends and strangers. But how do stories work? What is it about telling and listening to stories that unites us? And, more importantly, how do we change them-and how do they change us?
In The Story Is True, author, filmmaker, and photographer Bruce Jackson explores the ways we use the stories that become a central part of our public and private lives. He examines, as no one before has, how stories narrate and bring meaning to our lives, by describing and explaining how stories are made and used. The perspectives shared in this engaging book come from the tellers, writers, filmmakers, listeners, and watchers who create and consume stories.
Jackson writes about his family and friends, acquaintances and experiences, focusing on more than a dozen personal stories. From oral histories, such as conversations the author had with poet Steven Spender, to public stories, such as what happened when Bob Dylan "went electric" at the 1965 Newport Folk Festival. Jackson also investigates how "words can kill" showing how diction can be an administrator of death, as in Nazi extermination camps. And finally, he considers the way lies come to resemble truth, showing how the stories we tell, whether true or not, resemble truth to the teller.
Ultimately, The Story Is True is about the place of stories-fiction or real-and the impact they have on the lives of each one of us.
An exploration of Nathaniel Hawthorne’s narrative technique and unique vision of the world
The Style of Hawthorne’s Gaze is an unusual and insightful work that employs a combination of critical strategies drawn from art history, philosophy, psychoanalysis, and contemporary aesthetic and literary theory to explore Nathaniel Hawthorne’s narrative technique and his unique vision of the world. Dolis studies Hawthorne’s anti-technological and essentially Romantic view of the external world and examines the recurring phenomena of lighting, motion, aspectivity, fragmentation, and imagination as they relate to his descriptive techniques.
This volume provides a generic description, based on a formal analysis of narrative structures, of the Middle English noncyclic verse romances. As a group, these poems have long resisted generic definition and are traditionally considered to be a conglomerate of unrelated tales held together in a historical matrix of similar themes and characters. As single narratives, they are thought of as random collections of events loosely structured in chronological succession. Susan Wittig, however, offers evidence that the romances are carefully ordered (although not always consciously so) according to a series of formulaic patterns and that their structures serve as vehicles for certain essential cultural patterns and are important to the preservation of some community-held beliefs.
The analysis begins on a stylistic level, and the same theoretical principles applied to the linguistic formulas of the poems also serve as a model for the study of narrative structures. The author finds that there are laws that govern the creation, selection, and arrangement of narrative materials in the romance genre and that act to restrict innovation and control the narrative form.
The reasons for this strict control are to be found in the functional relationship of the genre to the culture that produced it. The deep structure of the romance is viewed as a problem-solving pattern that enables the community to mediate important contradictions within its social, economic, and mythic structures. Wittig speculates that these contradictions may lie in the social structures of kinship and marriage and that they have been restructured in the narratives in a “practical” myth: the concept of power gained through the marriage alliance, and the reconciliation of the contradictory notions of marriage for power’s sake and marriage for love’s sake.
This advanced, thorough, and completely original study will be valuable to medieval specialists, classicists, linguists, folklorists, and Biblical scholars working in oral-formulaic narrative structure.
Seeking to move beyond the customary limits of archaeological prose and representation, Subjects and Narratives in Archaeology presents archaeology in a variety of nontraditional formats. The volume demonstrates that visual art, creative nonfiction, archaeological fiction, video, drama, and other artistic pursuits have much to offer archaeological interpretation and analysis.
Chapters in the volume are augmented by narrative, poetry, paintings, dialogues, online databases, videos, audio files, and slideshows. The work will be available in print and as an enhanced ebook that incorporates and showcases the multimedia elements in archaeological narrative. While exploring these new and not-so-new forms, the contributors discuss the boundaries and connections between empirical data and archaeological imagination.
Both a critique and an experiment, Subjects and Narratives in Archaeology addresses the goals, advantages, and difficulties of alternative forms of archaeological representation. Exploring the idea that academically sound archaeology can be fun to create and read, the book takes a step beyond the boundaries of both traditional archaeology and traditional publishing.
In Surprised by Shame, Deborah A. Martinsen combines shame studies and literary criticism. She begins with a discussion of shame dynamics, including the tendency of those who witness shame to feel shame themselves. Because Dostoevsky identified shame as a fundamental source of lying, Martinsen focuses on scenes when liars are exposed. She argues that by making readers witness such scandal scenes, Dostoevsky surprises them with shame, thereby collapsing the distance between readers and characters and viscerally involving them in his message of human interconnection.
Treating Dostoevsky’s liars as case studies, Surprised by Shame discusses varieties of shame and shamelessness; it also illustrates how Dostoevsky uses lying to indicate and expose subconscious processes. In addition, Martinsen demonstrates how Dostoevsky plucks shame from the realm of character trait and plot motive and embeds it in the narrative dynamics of The Idiot, Demons, and The Brothers Karamazov, thereby plunging readers into fictional experience and ethically transforming them.
By focusing on shame, this book uncovers new perspectives on Dostoevsky as writer and psychologist. By exposing how shame dynamics implicate readers in texts’ ethical actions, it enriches understanding of his tremendous influence on twentieth-century thinkers and writers. Finally, reading Dostoevsky as a prophet of shame-begotten violence reveals his universal relevance in a twenty-first century already scarred by acts of violence.
Suture and Narrative: Deep Intersubjectivity in Fiction and Film by George Butte offers a new phenomenological understanding of how fiction and film narratives use particular techniques to create and represent the experience of community. Butte turns to the concept of suture from Lacanian film theory and to the work of Merleau-Ponty to contribute a deeper and broader approach to intersubjectivity for the field of narrative theory.
Butte’s approach allows for narratives that represent insight as well as blindness, love, and loss, locating these connections and disconnections in narratological techniques that capture the crisscrossing of perspectives, such as those in fiction’s free indirect discourse and in the oblique angle of film’s shot/reverse shot convention. Butte studies the implications of this chiasmus in the novels and film adaptations of later Henry James works, Barrie’s Peter Pan tales and film adaptations, and the films Silence of the Lambsand Nothing But a Man. Suture’s story in the twentieth century, according to Butte, is a story of the loss of immediacy and community. Yet in concluding this, Butte finds optimism in the Coen brothers’ Raising Arizona as well as in Why Be Happy When You Could Be Normal? by Jeanette Winterson and Marc Webb’s film (500) Days of Summer.
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