The Sámi Narrative Tradition

AbstractThis article explores the use of the plot twist in screen fictions. This is a largely unexplored area, as interest in this phenomenon has largely focused on the so-called “plot twist movie,” which is an older narrative tradition. In order to explain this aesthetic phenomenon, it draws on the model of surprise originally proposed by the cognitive psychologists Wulf Meyer, Rainer Reisenzein, and Achim Schützwohl. Plot twists are characterized by three distinct but intimately intertwined temporal segments and their corresponding functions, which are explained by this model. The objective of this article is to explore how cognitive-emotional interactions shape the aesthetic viewing experience and to identify how that experience relates to shows’ artistic qualities. Game of Thrones (S01 and S03), Homeland (S01), and Westworld (S01) will be used as test cases. In each of the three plot segments, there are specific processes that distinguish the experience of surprise as an aesthetic phenomenon.

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Discurso des Scheiterns. : Das Schiffbruch-Narrativ und seine Wendepunkte

Zeitschrift für Germanistik ◽

10.3726/92165_481 ◽

2019 ◽

Vol 29 (3) ◽

pp. 481-502

Author(s):

BURKHARDT WOLF

Keyword(s):

Literary History ◽

Turning Points ◽

Modern Times ◽

Narrative Tradition ◽

Longue Duree ◽

Maritime Navigation ◽

Structural Consistency ◽

Longue Durée ◽

High Degree

Abstract Vom Untergang zur See zu handeln, führt in der westlichen Erzähltradition seit Homer auf kosmologische und existentielle, politische und ökonomische Belange. Will man von einem regelrechten ,,Schiffbruch-Narrativ“ sprechen, dann ist dieses nicht nur durch eine longue durée motivischer und struktureller Beständigkeit ausgezeichnet, sondern auch durch einen hohen Grad an sprachlich-formaler Selbstreflexivität und seit der Neuzeit durch die Engführung nautischer mit poetischen Innovationen. Wendepunkte markiert das Scheitern nunmehr in seefahrts- und auch literaturhistorischer Hinsicht, weshalb man, wie im Portugal der Entdeckerzeit, von einem maritimen ,,discurso“ sprechen kann.In the Western narrative tradition since Homer, relating to sea losses leads to cosmological and existential, political and economic concerns. The ,,shipwreck narrative“ is characterized by a long-lasting motivic and structural consistency. But furthermore, it exhibits a high degree of linguistic and formal self-reflexiveness, and since modern times, it brings together nautical with poetic innovations. The sinking now marks turning points in terms of maritime navigation as well as literary history, which is why, as in Portugal of the time of discovery, one can speak of a maritime ,,discurso“.

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Myths of the Underworld in Contemporary Culture

10.1093/oso/9780198767091.001.0001 ◽

2019 ◽

Cited By ~ 1

Author(s):

Judith Fletcher

Keyword(s):

Short Stories ◽

Case Studies ◽

Joseph Conrad ◽

Ezra Pound ◽

Border Crossing ◽

First Century ◽

Contemporary Culture ◽

Cinematic Adaptation ◽

Narrative Tradition ◽

Wide Range

Stories of a visit to the realm of the dead and a return to the upper world are among the oldest narratives in European literature, beginning with Homer’s Odyssey and extending to contemporary culture. This volume examines a series of fictional works by twentieth- and twenty-first century authors, such Toni Morrison and Elena Ferrante, which deal in various ways with the descent to Hades. Myths of the Underworld in Contemporary Culture surveys a wide range of genres, including novels, short stories, comics, a cinematic adaptation, poetry, and juvenile fiction. It examines not only those texts that feature a literal catabasis, such as Neil Gaiman’s Sandman series, but also those where the descent to the underworld is evoked in more metaphorical ways as a kind of border crossing, for instance Salman Rushdie’s use of the Orpheus myth to signify the trauma of migration. The analyses examine how these retellings relate to earlier versions of the mythical theme, including their ancient precedents by Homer and Vergil, but also to post-classical receptions of underworld narratives by authors such as Dante, Ezra Pound, and Joseph Conrad. Arguing that the underworld has come to connote a cultural archive of narrative tradition, the book offers a series of case studies that examine the adaptation of underworld myths in contemporary culture in relation to the discourses of postmodernism, feminism, and postcolonialism.

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What Is Hidden in the Small Box? Narratives of Late Antique Roman Palestine in Dialogue

AJS Review ◽

10.1017/s0364009420000422 ◽

2021 ◽

Vol 45 (1) ◽

pp. 76-94

Author(s):

Reuven Kiperwasser

Keyword(s):

Cultural Context ◽

Late Antique ◽

Early Christian ◽

Narrative Tradition ◽

Judaic Studies ◽

Roman Palestine ◽

The Church ◽

Shared Narrative

This study is a comparative reading of two distinct narrative traditions with remarkably similar features of plot and content. The first tradition is from the Palestinian midrash Kohelet Rabbah, datable to the fifth to sixth centuries. The second is from John Moschos's Spiritual Meadow (Pratum spirituale), which is very close to Kohelet Rabbah in time and place. Although quite similar, the two narratives differ in certain respects. Pioneers of modern Judaic studies such as Samuel Krauss and Louis Ginzberg had been interested in the question of the relationships between early Christian authors and the rabbis; however, the relationships between John Moschos and Palestinian rabbinic writings have never been systematically treated (aside from one enlightening study by Hillel Newman). Here, in this case study, I ask comparative questions: Did Kohelet Rabbah borrow the tradition from Christian lore; or was the church author impressed by the teachings of Kohelet Rabbah? Alternatively, perhaps, might both have learned the shared story from a common continuum of local narrative tradition? Beyond these questions about literary dependence, I seek to understand the shared narrative in its cultural context.

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