Introduction to Narrative Space

This article revisits Charlotte Brontë’s Villette (1853) in light of current debates surrounding illness and caregiving by asking: how can feminist ethics of care illuminate the place of characters with disabilities within cultures of self-reliance and self-sufficiency? By drawing on critical care ethics, I argue that caregiving communities engage more central characters into the peripheral narrative spaces inhabited by disabled minor characters like Miss Marchmont and Marie Broc.

The English language, used as a language for global communication, and the Italian language as a local language, are the languages through which stories about identities with different cultural roots – impacted and constrained by social issues and marginalisation – unfold within the narrative space of subtitles.

In its refusal to provide mechanisms of imaginative transcendence that would transport the reader out of the Boughtons’ oppressive dwelling or make it more hospitable, the novel renders domestic and narrative space equally uncomfortable.

Ambient sound and silence largely function in film to hold narrative space and time in place.

Traditionally slotted into the ‘pseudohistorical’ scheme, thus constituting one of the primeval waves of invaders who shaped the land and institutions of Ireland, the Túatha Dé Danann (and their opponents, the Fomoiri) have a narrative space to themselves in the text known as the Cath Maige Tuired ‘(Second) Battle of Mag Tuired’.

In this study, we address one of the terms of the field of narratology, which is the term "narrative space" More specifically, we follow the origin of its linguistic connotation in the ancient dictionaries of the Arabic language, compared to the French language.

Since narratologists have long privileged time over space, narrative space remained a relatively unexplored territory until the twentieth century, which intensified the interest in the house as the thematic fulcrum of literary works.

She represents herself in the narrative space as a limit-subject (at times, blurred) between a subjective interior and a tellable exterior, with the final purpose of finding another writing-place that can shelter her in the process of becoming more than in that of being.

Against this backdrop, world cinema can be reframed not for a world tour of territorialized national cinemas or transnational deterritorialization but a critical remapping of many contemporary films reflecting global phenomena even in localized narrative space.

Design of digital museum narrative space based on perceptual experience data mining and the computer vision is presented in this paper.

Drawing on diaspora studies, theories of narrative space, and contemporary theories of world literature, this article argues that Somali diasporic literature places at its imaginative and symbolic core the concept of the border.

In narratology, categories of location and place are often correlated with narrative spaces as expression of a dynamics of unfolding of events, from initial situation to catastrophe to its consequence and result (Brandt 2009).

Consequently, even as the novel becomes increasingly conscious of its generic historicity, its own temporalities fragment, and its narrative spaces become—to use a geographer’s term of art—unevenly developed.

At the centre of this exploration is an ongoing investigation into the role of memory and imagination in narrative spaces in immersive virtual environments, stemming from the author’s background in interactive Installation art and designing for virtual environments.

Seen in the light of gender oppression, the male characters, seem to occupy an ineffective and feminine narrative space even in powerful male stories of immigrant economic success written by Mukherjee.

The taxonomic work of naming lists of indigenous flora and fauna engaged by the human characters conjures uncertain and unfamiliar beings that slightly escape our grasp and, in turn, swarm and attempt to take over the narrative space—at once blurring and, in the process, contributing to the work of narration.

With a mixture of disdain and disquiet, Emma equates everybodiness with banal group-think, senseless chatter, lackluster mediocrity, and oppressive sameness—but, even as it thinks these superciliously undemocratic thoughts, Austen’s novel grants “everybody” narrative space in which to contest the terms of its own marginalization.

Using the example of the so-called »damage cycles« (Rev 6:1-17; 8:2-11:19; 15:1-16:21), it will be argued that these texts aim at a theological interpretation that consoles and admonishes its readers by creating narrative spaces for the transience of the seemingly unchangeable Roman rule.

By taking into account the so-called ‘Shakespace’ phenomenon, it focuses on what I have labelled as the ‘R&J-influenced spaces’ which account for a number of civic, cultural, and narrative spaces generated by and constructed upon the myth of the Veronese lovers.

Design/methodology/approachUsing a qualitative approach, this study examined user interactions with virtual documents to better understand the relationship between information behavior and narrative spaces.

The departure from contemporary fiction is seen as involving a symbiosis and at the same time a radical disjunction between civil and visceral, localized and phantasmagorical, whereby a renewed reality—a new narrative space—is enabled to come about.

While a 360-degree narrative space has been demonstrated to provide highly immersive experiences, it may also affect information intake and the recollection of narrative events.

Through this discussion on personal popular music listening and virtual spatiality, a theory of pop listening as embodied inhabiting of simulated narrative space, or virtual story-world, with reference to ‘aural-dominant realities’ (Salter), ‘sonic possible worlds’ (Voegelin), and ‘sonic fictions’ (Eshun), is developed.