By Jan Christoph Meister, Alastair Matthews
Computing motion takes a brand new method of the phenomenon of narrated motion in literary texts. It starts with a survey of philosophical ways to the idea that of motion, starting from analytical to transcendental and at last constructivist definitions. This results in the formula of a brand new version of motion, within which the center definitions constructed in conventional structuralist narratology and Greimassian semiotics are reconceptualised within the mild of constructivist theories. within the moment a part of the research, the combinatory version of motion proposed is placed into perform within the context of a computer-aided research of the motion constructs logically implied via narrative texts. specialized literary computing instruments have been built for the needs of this research of textual info: EVENTPARSER, an interactive instrument for parsing occasions in literary texts, and EPITEST, a device for subjecting the mark-up records hence produced to a combinatory research of the episode and motion constructs they comprise. The 3rd a part of the e-book provides a case research of Goethe's Unterhaltungen deutscher Ausgewanderten. right here, the sensible program of idea and method ultimately results in a brand new interpretation of Goethe's well-known Novellenzyklus as a scientific test within the narrative building of motion - an scan meant to illustrate not just Goethe's aesthetic ideas, but in addition, and extra essentially, his epistemological convictions.
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Extra info for Computing Action: A Narratological Approach (Narratologia - Volume 2)
We immerse ourselves in narrated events and start imagining them as an open-ended process in order to experience suspense. 7 The various mental images which the text evokes appear in our consciousness in a sequential order which is ultimately supported by nothing more than the symbolic material of the language with which they are represented. Nonetheless, the reader embraces the illusion that the various denoted events unfold dynamically as part of an open-ended process in the ﬁctional world where they take place.
Every utterance that a narrator makes also contributes to the deﬁnition of what is not part of the ﬁctional world because it cannot, as a matter of principle, exist or take place in it. 1 Action as Product and Construct 15 In underscoring the displayable nature of narrative, its qualities of an object calling for contemplation, exploration, and response, the disnarrated shows that narrative is not only a matter of counting, accounting, and recounting, but also one of discounting. It insists upon the ability to conceive and manipulate hypothetical worlds or states of affairs and the freedom to reject various models of intelligibility, of coherence and signiﬁcance, various norms, conventions or codes for world- and ﬁction-making.
The same Plato who saw the writers of ﬁction as liars and wanted them banned from the utopian state as a matter of principle also appreciated the fact that the epic narrator acknowledges, if only at a formal level, the contingent and construed nature of the mental images he evokes. We can, after all, identify the person of authority who is responsible for reporting what is narrated in any given narrative text. The concept of this person, however, both points to the possibility of deception (the persona is, as the Latin word indicates, no more than a mask of identity) and indicates that any information narrated about a ﬁctional event is passed on to us by the mediating authority in the medium of sound (per son); that is to say, the information is related symbolically.