Cities of Rivers, Mountains, and Serpents: Non-Human Territorialities in Jaime Saenz and José María Arguedas

In this article, I draw on Tupac Amaru Kamaq Taytanchisman (1962) by José María Arguedas and Imágenes paceñas (1979) by Jaime Saenz to illuminate the ways that serpents, rivers, and mountains bear upon the spatial organization of Lima and La Paz. I contend that for Saenz and Arguedas, entities such as the Amaru or the Illimani influence the production of non-human territorialities, reorganizing the structures of urban spaces and the lives of the citizens within them. Both texts make visible non-human territorialities through a process I call “territorial writing.” This kind of writing employs a variety of literary strategies (narrative time, characters, and figures) to visualize human and other-than-human vinculums as part of Andean cities. From this vantage point, “territorial writers” perceive urban geographies as territories in which different ethnic groups interact with powerful non-human entities or deities.

A ‘Stain on Silence’: The Registration of Trauma in the Comics Memoirs of Alison Bechdel and Art Spiegelman

<p>The value of comics as a medium for serious literary expression, despite growing popularity and recognition, is still contested. Two of the most successful examples of the medium, Art Spiegelman’s Maus (1986 & 1992) and Alison Bechdel’s Fun Home (2006), use differing and similar strategies to narrate the transmission of trauma from parent to child. Maus records the testimony of Spiegelman’s survivor father’s experiences in hiding in Poland and in Auschwitz and Dachau, as well as the process of this testimony and the conflicted relationship between father and son. Fun Home’s traumatic history centres on Bechdel’s artistically ambitious father’s closeted affairs with teenage boys, and his overbearing influence on her own artistry and queer sexuality. This thesis tracks the narrative and graphic registration of trauma in these two memoirs, through their use of archival materials, consideration of the ethical problems of the representation of extremity and history, and treatment of narrative time.</p>

A ‘Stain on Silence’: The Registration of Trauma in the Comics Memoirs of Alison Bechdel and Art Spiegelman

<p>The value of comics as a medium for serious literary expression, despite growing popularity and recognition, is still contested. Two of the most successful examples of the medium, Art Spiegelman’s Maus (1986 & 1992) and Alison Bechdel’s Fun Home (2006), use differing and similar strategies to narrate the transmission of trauma from parent to child. Maus records the testimony of Spiegelman’s survivor father’s experiences in hiding in Poland and in Auschwitz and Dachau, as well as the process of this testimony and the conflicted relationship between father and son. Fun Home’s traumatic history centres on Bechdel’s artistically ambitious father’s closeted affairs with teenage boys, and his overbearing influence on her own artistry and queer sexuality. This thesis tracks the narrative and graphic registration of trauma in these two memoirs, through their use of archival materials, consideration of the ethical problems of the representation of extremity and history, and treatment of narrative time.</p>

Narrative and point of view

This chapter launches a simultaneous investigation of the conventions of temporal progression and subjective point of view in narratives. Historically, the two have been seen as mutually exclusive, as in Plato’s opposition of diegesis and mimesis, and Benveniste’s of histoire and discours. More recently, Mimo Caenepeel proposes, in the same vein, that subjective clauses of free indirect discourse do not (generally) advance narrative time, and suggests that this is because stative aspect, which does not (generally) induce a temporal update, is obligatory for clauses with a subjective point of view. The chapter will critically examine this interesting proposal.

Loop Structures in Film (and Literature): Experiments with Time Between the Poles of Classical and Complex Narration

Among the many innovations complex or “puzzle” films have brought about in the last three decades, experiments with narrative time feature prominently. And within the category of nonlinear plots, the loop structure – exemplified by films such as Repeaters (Canada 2010), Source Code (USA/France 2011), Looper (USA/China 2012) or the TV-Series Day Break (USA 2006) – has established itself as an interesting variant defying certain norms of storytelling while at the same time conforming in most cases to the needs of genre and mass audience comprehension. In the first part of my paper, I will map out different kinds of repeated action plots, paying special attention to constraints and potentialities pertaining to this particular form. In the second part, I will address the issue of narrative complexity, showing that loop films cover a wide range from “excessively obvious” mainstream (e.g. Groundhog Day, USA 1992; 12:01, USA 1993; Edge of Tomorrow, USA/Canada 2014) to disturbing narrative experiments such as Los Cronocrimenes (Spain 2007) or Triangle (Great Britain/Australia 2009). Finally, a look at two early examples (Repeat Performance, USA 1947 and Twilight Zone: Judgement Day, USA 1959) will raise the question how singular the recent wave of loop films are from a historical perspective.

Queering Bodies: “Becoming-unrecognisable” in Wong Kar-Wai’s Happy Together

This paper is interested in the cinematic apparatus’s potential to produce affect which defamiliarises the visible presence of star-bodies in Wong Kar-wai’s Happy Together (chunguang zhaxie, 1997), thus invoking non-normative and new modes of thinking about queer identification and representation. By close reading the mise-en-scène of the two Iguazu falls sequences, the on-screen star bodies of Tony Leung and Leslie Cheung are defamiliarized when they produce Gilles Deleuze’s affect and “become-unrecognisable” as on-screen subjects. Through this, the encounters with the Iguazu Falls allow us to queer heteronormative and linear narrative time that is associated with (a movement towards) futurity. This inability to pass judgement, I argue, is the ethics of sexual desire which Happy Together proffers when we understand the body that queers and becomes unrecognisable through productive affective assemblages. Instead, we move through the transsensorial potentials for the cinematic assemblage to rethink modes of queering normativity and to redefine bodies in terms of plurality and multiplicity. To that end, this paper presents a new way of thinking about how film stars, familiar tourist spots and even a classic text like Happy Together may be defamiliarized through productions of affects, new-sensations, to provide more ways of revisiting and regarding the film anew.

Narratologische Analyse des Gorgias-Romans Veriphantors Betrogener Frontalbo

"A Narratological Analysis of the Novel Veriphantors Betrogener Frontalbo by Johann Gorgias. Veriphantors Betrogener Frontalbo is the most important novel by the German-Transylvanian writer Johann Gorgias. It represents the pinnacle of his poetic œuvre, since earlier texts often still consist of few plot elements, and Veriphantors Buhlende Jungfer is a text that is not yet particularly well structured. The educational intent of Gorgias’s earlier texts can seem quite offensive today, as the reader is often bombarded with general rules, commonplaces, and moralizing examples drawn from life after a small plot point. In the narratological analysis, the relationship of the narrated time and the narrative time or pace are examined first. Furthermore, the sequence of events presented, the length of the presentation of incidents (duration), and the “repetition relations” in which “the narrated and the narration” stand, are identified and differentiated. Keywords: Gorgias, baroque, narration, duration, narrated time, narrative time "

EXPRESS: Toward Temporally Complex Collaboration in an Interorganizational Research Network

Prior research suggests interorganizational collaboration faces temporal challenges but also opportunities yet is scarce on the role of time enabling – more often deterring - collaboration for collective benefit. Our contribution is highlighting how a large industry-academic research network developed temporally complex collaboration through varying temporal rules and relationships. The three network-developed collaborative repertoires, with their particular temporal rules and relationships, complemented the externally imposed calendar repertoire: (1) sprint repertoire, following a familiar agile method for joint research, (2) narrative time repertoire, enabling sharing research results across various events at the program level, and (3) “right” time repertoire that turned research results into action in emerging business ecosystems. With these collaborative repertoires, both the temporal diversities of home organizations and the asynchronies of the network activities were resolved for collective benefit. We contribute to the intersection of the literatures on interorganizational networks and temporality as befitting collaboration.

On Double Narration in Wuthering Heights

Emily Bronte's Wuthering Heights is characterized by the narrative mechanisms and techniques it employs. Building on its structure, the novel is obviously rich in its underlying elements that are worth examining. One of these elements is the choice of multiple narrators and the complex organization of narrative time. This theoretical framework deals mainly with narration and narrative techniques as approached by structuralist narratology. As an approach that examines narration and its major hybrids, narratology delves into a structural study of Wuthering Heights allowing for a deep examination of the underlying narrative elements in the novel. Having said that, it is believed that the study of narratology is pertaining in the sense that it sheds light on how the narrative structure of the novel puts into question the status of the narrators as reliable sources. This structure also mystifies the story giving the reader a chance to decipher the intent of the characters involved as both narrators and characters. Without taking such structure into account, the readers are missing some key elements in understanding and interpreting the stories told by the narrators