Month: November 2023

Narrative Subversion: Etymology and Concept

Etymology: The term “narrative subversion” draws its etymological roots from the Latin word “subvertere,” where “sub” signifies from below or beneath, and “vertere” means to turn.

The compound “subvertere” denotes the act of overthrowing, overturning, or undermining established structures. Applied to narrative, the term implies a deliberate and strategic deviation from conventional storytelling conventions, challenging expectations and disrupting the anticipated progression of a narrative

Concept:

Narrative Subversion: Literal Meanings

1. Narrative Deviation:
   • Literal meaning: The intentional departure from the expected or conventional path of a story, diverging from the established narrative trajectory.
2. Overturning Stories:
   • Literal meaning: The act of flipping or reversing the elements and expectations within a narrative, challenging and altering the standard progression of a story.
3. Undermining Narratives:
   • Literal meaning: The deliberate weakening or subverting of the foundations and established structures of a narrative, leading to a reevaluation of its core elements.
4. Twisting Tale Elements:
   • Literal meaning: The act of contorting or bending the components of a story, introducing unexpected turns, alternative perspectives, or unconventional resolutions.
5. Defying Story Norms:
   • Literal meaning: Going against the established norms and conventions of storytelling, challenging the expected patterns and introducing elements that deviate from the usual.
6. Strategically Disrupting Stories:
   • Literal meaning: The planned introduction of disruptions and disturbances within a narrative, aiming to strategically alter the course and impact of the story.
7. Deconstructing Story Elements:
   • Literal meaning: The process of systematically breaking down and analyzing the individual components of a narrative, exposing underlying assumptions and challenging preconceived notions.
8. Innovating Narratives:
   • Literal meaning: The creative act of introducing new and original elements to a story, encouraging experimentation with form, style, and content to foster innovative storytelling.

Narrative Subversion: Definition as a Theoretical Term

Narrative subversion, as a theoretical term, refers to the deliberate and strategic deviation from established storytelling conventions, challenging preconceived expectations and disrupting the anticipated progression of a narrative. This concept involves the intentional introduction of unexpected twists, alternative perspectives, or unconventional resolutions within a narrative framework. By undermining traditional narrative norms, narrative subversion prompts a reevaluation of the established order, fostering innovative and thought-provoking approaches to storytelling within literary and cultural studies.

Narrative Subversion: Theorists, Works and Arguments

Theorists:

1. Roland Barthes:
   • Work: S/Z
   • Argument: Barthes, through his exploration of narrative structures, contributes to the theoretical understanding of narrative subversion by highlighting the potential for dismantling and reinterpreting traditional narrative codes.
2. Michel Foucault:
   • Work: The Archaeology of Knowledge
   • Argument: Foucault’s examination of historical discourses and the power dynamics within them lays the groundwork for understanding how narratives can be subverted to challenge prevailing norms and ideologies.
3. Jacques Derrida:
   • Work: Of Grammatology
   • Argument: Derrida’s deconstructive approach provides insights into how language, as a medium of narrative, can be subverted and destabilized, paving the way for alternative interpretations and meanings.
4. Julia Kristeva:
   • Work: Revolution in Poetic Language
   • Argument: Kristeva’s exploration of the semiotic and symbolic dimensions of language informs discussions on narrative subversion, emphasizing the potential for disrupting established linguistic and narrative structures.

Key Works:

1. S/Z by Roland Barthes:
   • Argument: Barthes deconstructs narrative structures, providing a model for understanding how narratives can be subverted through careful analysis and reinterpretation of narrative elements.
2. The Handmaid’s Tale by Margaret Atwood:
   • Argument: Atwood’s narrative challenges traditional power structures, exemplifying narrative subversion through its depiction of a world where established norms are subverted.
3. The Trial by Franz Kafka:
   • Argument: Kafka’s work serves as an illustration of narrative subversion by challenging conventional structures and societal order through surreal and absurd narrative.

Common Arguments:

1. Deconstruction of Power Structures:
   • Theorists argue that narrative subversion involves the deconstruction of power structures, allowing for the exposure and critique of prevailing ideologies.
2. Alternative Interpretations:
   • Narrative subversion enables the generation of alternative interpretations, emphasizing the potential for challenging dominant discourses and offering new perspectives.
3. Semiotic Disruptions:
   • The exploration of semiotic disruptions within narratives is a common argument, emphasizing how narrative subversion can manifest through the destabilization of linguistic and symbolic elements.
4. Social and Political Commentary:
   • Many argue that narrative subversion serves as a tool for social and political commentary, allowing authors to critique societal norms and advocate for change through innovative narrative strategies.

Narrative Subversion: Relevance to Literary Theories

Narrative subversion refers to the intentional deviation from traditional or expected narrative conventions, often challenging established norms and expectations within a literary work. This technique can be employed across various literary theories, each offering a unique perspective on how narrative subversion functions. Here’s a brief exploration of how narrative subversion relates to some key literary theories:

1. Structuralism:
   • Narrative Subversion: In structuralism, narratives are seen as systems of signs and symbols with interconnected relationships. Narrative subversion challenges these established structures by disrupting the expected patterns and relationships within a story.
   • Relevance: By subverting structural norms, authors can question the inherent stability of narrative systems and challenge the reader’s assumptions about the predictability of a story.
2. Poststructuralism/Deconstruction:
   • Narrative Subversion: Deconstruction involves analyzing and dismantling the binary oppositions and hierarchies within a text. Narrative subversion can be a deconstructive act by destabilizing these oppositions, leading to a more fluid and open-ended interpretation of the text.
   • Relevance: Narrative subversion aligns with the poststructuralist idea that meaning is not fixed but is contingent on the reader’s interpretation, allowing for a multiplicity of meanings and perspectives.
3. Feminist Literary Theory:
   • Narrative Subversion: In feminist theory, narrative subversion can challenge and deconstruct traditional gender roles and stereotypes present in literature. It can provide a platform for marginalized voices and perspectives.
   • Relevance: By subverting gender norms and expectations, authors contribute to the broader feminist discourse, critiquing and reshaping societal perceptions of gender within the literary landscape.
4. Marxist Literary Theory:
   • Narrative Subversion: Marxist theory focuses on class struggle and societal structures. Narrative subversion can critique and challenge these structures, often by depicting the struggles of marginalized or oppressed groups.
   • Relevance: By subverting the traditional narratives that may perpetuate class divisions, authors can promote social consciousness and inspire readers to question existing power dynamics.
5. Psychoanalytic Literary Theory:
   • Narrative Subversion: Psychoanalytic theory explores the subconscious elements of the mind. Narrative subversion can disrupt conventional psychological patterns, offering alternative explorations of characters’ motivations and desires.
   • Relevance: Authors may use narrative subversion to challenge or deconstruct Freudian or Jungian archetypes, providing a fresh perspective on the complexities of human psychology.
6. Cultural Studies:
   • Narrative Subversion: Cultural studies examine the ways in which culture and society influence and are influenced by literature. Narrative subversion can challenge cultural norms and offer alternative narratives that reflect a more diverse and inclusive cultural landscape.
   • Relevance: By subverting dominant cultural narratives, authors can contribute to a more nuanced understanding of identity, representation, and power dynamics within society.

Narrative Subversion: Application in Critiques

Narrative subversion can be a powerful and insightful tool when applied in critiques of literary works. By actively challenging and subverting traditional narrative conventions, authors can achieve various effects that are worthy of critique. Here are some ways in which narrative subversion can be applied in literary critiques:

1. Challenge of Expectations:
   • Application: Identify instances where the narrative deliberately deviates from conventional plot structures, character development, or thematic expectations.
   • Critique: Evaluate the effectiveness of these deviations in challenging reader expectations. Discuss whether the subversion adds depth, complexity, or a fresh perspective to the work.
2. Subversion of Tropes and Clichés:
   • Application: Examine how the narrative subverts or deconstructs common literary tropes and clichés.
   • Critique: Assess the impact on the story’s originality and the author’s ability to engage the reader by avoiding predictable or formulaic elements. Consider whether the subversion contributes to a more nuanced understanding of the narrative.
3. Deconstruction of Characters and Archetypes:
   • Application: Analyze how the characters defy or deconstruct traditional archetypes or stereotypes.
   • Critique: Discuss the implications of character subversion on themes, symbolism, and the overall message of the work. Evaluate whether the author’s choices contribute meaningfully to the narrative.
4. Disruption of Chronology and Time:
   • Application: Explore how the narrative manipulates time through non-linear storytelling, flashbacks, or other temporal disruptions.
   • Critique: Assess the impact on the reader’s comprehension and emotional engagement. Discuss whether the temporal subversion enhances or detracts from the narrative’s overall coherence and effectiveness.
5. Narrative Unreliability:
   • Application: Identify instances where the narrator’s reliability is intentionally compromised.
   • Critique: Consider the implications of narrative unreliability on the reader’s understanding of the story. Evaluate whether this subversion adds complexity, intrigue, or challenges the reader to critically engage with the text.
6. Cultural and Societal Subversion:
   • Application: Examine how the narrative subverts cultural norms, societal expectations, or power structures.
   • Critique: Discuss the relevance of these subversions in the context of the work’s cultural commentary. Evaluate whether the subversions contribute to a broader social critique and challenge existing power dynamics.
7. Language and Style Subversion:
   • Application: Analyze how the author subverts language, style, or linguistic conventions for thematic or aesthetic purposes.
   • Critique: Consider the impact on the reader’s experience and interpretation. Discuss whether the subversion enhances the work’s artistic merit or if it poses challenges to accessibility and readability.
8. Interplay with Literary Theory:
   • Application: Connect the narrative subversion to specific literary theories, such as structuralism, poststructuralism, feminism, etc.
   • Critique: Evaluate how the subversion aligns with or challenges the theoretical frameworks, contributing to a deeper understanding of the work within a specific critical context.

In literary critiques, it’s essential to consider both the intentions behind narrative subversion and its impact on the overall literary experience. A nuanced critique should explore how these subversive elements contribute to the work’s thematic richness, innovation, and engagement with readers.

Narrative Subversion: Relevant Terms

1. In medias res: Starting a narrative in the middle of the action.
2. Bildungsroman: A novel focusing on the moral and psychological growth of the main character.
3. Pastoral: A work idealizing rural life.
4. Anachrony: The use of temporal disruption in storytelling.
5. Epistolary Novel: A novel composed of letters or written communication.
6. Frame Narrative: A narrative structure with a story enclosed within another.
7. Narrative Ambiguity: The intentional inclusion of elements with multiple interpretations.
8. Avant-Garde: Innovative, experimental, unconventional art.
9. Unreliable Chronology: Deliberately presenting events in a non-chronological order.
10. Polyphony: Simultaneous presentation of multiple voices, perspectives, or narrative strands.

Narrative Subversion: Suggested Readings

1. Danielewski, Mark Z. House of Leaves. Pantheon, 2000.
2. Calvino, Italo. If on a winter’s night a traveler. Harcourt Brace Jovanovich, 1981.
3. Mitchell, David. Cloud Atlas. Random House, 2004.
4. Danielewski, Mark Z. The Familiar, Volume 1: One Rainy Day in May. Pantheon, 2015.
5. Faulkner, William. The Sound and the Fury. Vintage, 1929.
6. Cortázar, Julio. Hopscotch (Rayuela). Pantheon, 1966.
7. Nabokov, Vladimir. Pale Fire. G.P. Putnam’s Sons, 1962.

Narrative Structure: Etymology and Concept

The term “narrative” traces its linguistic origins to the Latin word “narrativus,” meaning “related to narration or storytelling.” “Structure” has its roots in the Latin “structura,” indicating the act of building or arranging. The fusion of these terms forms “narrative structure,” embodying the organized framework that underlies the telling of a story, shaping its coherence and progression.

Narrative structure refers to the deliberate organization and arrangement of elements within a story to create a meaningful and engaging whole. It encompasses the sequence of events, character development, and thematic coherence, providing the framework that guides the reader or audience through the narrative. A well-crafted narrative structure enhances the story’s impact, ensuring a logical and compelling flow that captivates and sustains the audience’s attention while delivering the intended message or emotional resonance.

Narrative Structure: Meanings

Narrative Structure: Definition of Theoretical Term

Narrative structure, in theoretical terms, refers to the deliberate organization and arrangement of elements within a story, encompassing the sequencing of events, character development, and thematic coherence.

It serves as the blueprint that governs the overall framework of a narrative, shaping the logical progression of the plot and ensuring a meaningful and engaging storytelling experience.

A well-defined narrative structure enhances the impact of the narrative by providing a cohesive and orchestrated presentation of key elements, contributing to the overall effectiveness and resonance of the literary work.

Narrative Structure: Theorists, Works, and Arguments

Narrative Structure and Literary Theories

1. Structuralism: Narrative structures hold a prominent position within structuralist literary theory, where scholars such as Roland Barthes and Claude Lévi-Strauss analyze universal patterns within narratives. Structuralists emphasize the role of cultural and linguistic frameworks in shaping storytelling, seeking underlying codes that govern narrative structures.
2. Poststructuralism: In contrast, poststructuralist literary theory, represented by thinkers like Jacques Derrida and Michel Foucault, challenges fixed narrative structures. Poststructuralists critique the stability of meaning and advocate for the deconstruction of established narrative frameworks, embracing a multiplicity of interpretations and highlighting the fluidity of storytelling.
3. Narratology: Narratology, as a literary theory, focuses on the structures and functions of narratives. Scholars like Gerard Genette and Mieke Bal delve into the intricate interplay of narrative elements, exploring how the arrangement of events, characters, and themes impacts the reader’s interpretation. Narratology provides a systematic framework for understanding the mechanics of storytelling.
4. Reader-Response Theory: Within reader-response theory, scholars like Wolfgang Iser and Stanley Fish foreground the role of readers in shaping narrative structures. This perspective highlights the dynamic interaction between the text and the reader, emphasizing how individual interpretations contribute to the construction of meaning and influence the overall narrative experience.
5. Feminist Narratology: Feminist narratology, represented by theorists such as Susan Lanser and Shlomith Rimmon-Kenan, centers on how gender influences narrative structures. This theory critically examines traditional representations of women within narratives, advocating for more inclusive and diverse storytelling that reflects the complexities of gender dynamics.

Narrative Structure: Application in Critiques

1. Things Fall Apart by Chinua Achebe:
   • Narrative Structure Analysis: Explore how Achebe employs a dual narrative structure, juxtaposing indigenous Igbo storytelling with the intrusion of Western narrative forms. Assess how this structure contributes to the portrayal of cultural clash and the impact of colonization on traditional storytelling.
2. Midnight’s Children by Salman Rushdie:
   • Narrative Structure Analysis: Examine Rushdie’s use of a nonlinear, magical realist narrative structure. Analyze how this structure reflects the complexity of postcolonial identity, blending historical events with fantastical elements, and consider its effectiveness in conveying the nuances of India’s post-independence era.
3. Wide Sargasso Sea by Jean Rhys:
   • Narrative Structure Analysis: Investigate Rhys’ utilization of a fragmented and shifting narrative structure. Assess how this structure mirrors the protagonist’s fractured identity and the destabilizing effects of colonialism in pre-colonial Jamaica, providing insight into the psychological impact of imperialism.
4. Disgrace by J.M. Coetzee:
   • Narrative Structure Analysis: Analyze Coetzee’s minimalist and detached narrative structure. Explore how this choice contributes to the exploration of power dynamics, guilt, and redemption in post-apartheid South Africa. Assess the impact of the narrative structure on reader engagement and the portrayal of postcolonial societal complexities.

In critiquing these postcolonial novels, attention to narrative structure allows for an in-depth analysis of how authors navigate the complexities of postcolonial experiences, identity formation, and power dynamics within the literary landscape.

Narrative Structure: Relevant Terms

1. Exposition: The introductory portion of a story that provides essential background information, setting the stage for the main narrative.
2. Rising Action: The series of events that build tension and develop the story leading up to the climax. It is the phase where conflicts and challenges intensify.
3. Climax: The highest point of tension or turning point in a narrative. It is the moment of greatest conflict, and it often determines the outcome of the story.
4. Falling Action: The part of the narrative that follows the climax, where the story’s conflicts start to resolve, and loose ends are tied up.
5. Resolution: The conclusion of the story, where the remaining conflicts are resolved, and the narrative reaches its final state.
6. Flashback: A narrative device that interrupts the chronological order of events to provide background information or details about past events.
7. Foreshadowing: A literary device where the author hints at future events in the story, building anticipation and curiosity in the audience.
8. Plot Twist: A sudden and unexpected change or development in the plot that alters the direction of the story, often leading to a reevaluation of previous events.
9. Narrative Arc: The overall shape or structure of a story, encompassing the rise and fall of tension and the development of characters and plot.
10. Epilogue: A concluding section of a narrative that provides closure or insight into the characters’ lives after the main events of the story have concluded.

Narrative Structure: Suggested Readings

1. Genette, Gerard. Narrative Discourse: An Essay in Method. Cornell University Press, 1980.
2. Herman, David. Basic Elements of Narrative. Wiley-Blackwell, 2009.
3. Prince, Gerald. A Dictionary of Narratology. University of Nebraska Press, 1987.
4. Richardson, Brian. Unnatural Narrative: Theory, History, and Practice. Ohio State University Press, 2015.
5. Rimmon-Kenan, Shlomith. Narrative Fiction: Contemporary Poetics. Routledge, 2002.
6. Ryan, Marie-Laure. Narrative as Virtual Reality: Immersion and Interactivity in Literature and Electronic Media. Johns Hopkins University Press, 2001.
7. Toolan, Michael. Narrative: A Critical Linguistic Introduction. Routledge, 2001.

Interstice: Etymology and Concept

The term “interstice” finds its etymological origins in the Latin language. Derived from the Latin word “interstitium,” meaning a small space or gap, “interstice” entered Middle English via Old French. The Latin root “inter” signifies “between” or “among,” emphasizing the spatial or temporal intervals denoted by the term.

In its contemporary usage, “interstice” retains its fundamental sense of referring to a small or narrow space that exists within a larger context. The term is often employed metaphorically to convey not only physical gaps or intervals but also conceptual or abstract spaces within various disciplines, such as literature, art, or philosophy.

Interstice: Definition as a Theoretical Term

An interstice, within theoretical frameworks, denotes a conceptual gap or interval that holds inherent significance in understanding complex systems. It serves as a pivotal theoretical construct employed to elucidate transitional spaces, emphasizing the nuanced relationships between distinct elements. In academic discourse, the term “interstice” encapsulates a theoretical lens through which scholars analyze and interpret the intricate gaps and transitional states present within diverse disciplines, fostering a deeper comprehension of the interconnectedness inherent in complex phenomena.

Interstice: Theorists, Works and Arguments

1. Gilles Deleuze and Félix Guattari:
   • Work: A Thousand Plateaus
   • Argument: Deleuze and Guattari explore the concept of interstices as “lines of flight” or spaces of deterritorialization, emphasizing the dynamic and transformative nature of gaps within social, cultural, and linguistic structures.
2. Michel Foucault:
   • Work: The Archaeology of Knowledge
   • Argument: Foucault’s archaeological approach examines historical interstices, asserting that significant shifts in discourse occur within the gaps between discursive formations, highlighting the importance of analyzing historical transitions and discontinuities.
3. Edward Soja:
   • Work: Thirdspace: Journeys to Los Angeles and Other Real-and-Imagined Places
   • Argument: Soja contributes the concept of “thirdspace,” emphasizing the interstice as a transformative space that transcends binary oppositions, proposing a more inclusive and fluid understanding of spatial and social relations.
4. Roland Barthes:
   • Work: The Pleasure of the Text
   • Argument: Barthes explores the interstice as a locus of pleasure in literary texts, contending that gaps and pauses in the narrative invite active reader engagement and interpretation, contributing to the overall aesthetic experience.
5. Homero Aridjis:
   • Work: 1492: The Life and Times of Juan Cabezón of Castile
   • Argument: Aridjis uses the concept of interstices in a poetic and narrative context, depicting the spaces between historical events as crucial sites for exploration and understanding, fostering a rich and layered historical narrative.
6. Jacques Derrida:
   • Work: Margins of Philosophy
   • Argument: Derrida’s deconstructive philosophy engages with interstices as sites of ambiguity and undecidability, challenging binary oppositions and exposing the instability inherent in language and conceptual frameworks.

These theorists and their respective works contribute diverse perspectives on the concept of interstice, exploring its relevance across disciplines and offering nuanced arguments that shape the theoretical discourse surrounding transitional spaces and gaps in various contexts.

Interstice: Features

Interstice: Relevance in Literary Theory

The term “interstice” refers to a small space or gap between things. In literary theory, it is often used metaphorically to describe the spaces between elements in a text, such as words, sentences, or ideas.

The concept of interstice is relevant in various ways within different literary theories. Here are some perspectives:

1. Structuralism:
   • Relevance: In structuralist literary theory, scholars like Roland Barthes and Claude Lévi-Strauss examine the underlying structures that shape meaning in a text. Interstices, in this context, could represent the spaces between structural elements. These gaps may be significant in understanding how meaning is constructed and conveyed.
2. Poststructuralism/Deconstruction:
   • Relevance: Poststructuralist thinkers like Jacques Derrida emphasize the deconstruction of binary oppositions and hierarchies in language. Interstices play a crucial role here as they highlight the inherent instability and fluidity of language. Deconstruction involves exploring the gaps and contradictions within a text to reveal multiple possible interpretations.
3. Psychoanalytic Criticism:
   • Relevance: In psychoanalytic literary theory, influenced by Sigmund Freud and Jacques Lacan, the interstice can be seen as a space where repressed desires and unconscious thoughts emerge. Characters’ actions and motivations may be explored in the gaps between what is overtly stated and what is implied, shedding light on the characters’ inner conflicts.
4. Feminist Criticism:
   • Relevance: Feminist literary theory often examines power dynamics, gender roles, and representations of women. Interstices may be spaces where alternative voices and perspectives emerge, challenging dominant narratives. Examining the gaps can reveal how women’s experiences and voices have been marginalized or overlooked in literature.
5. Cultural Studies:
   • Relevance: In cultural studies, scholars explore how literature reflects and shapes cultural values. Interstices may represent the areas where different cultural influences intersect or clash. Analyzing these spaces can provide insights into the broader cultural context in which a text is situated.
6. New Criticism:
   • Relevance: While New Criticism tends to focus on the text itself rather than external factors, attention to interstices can still be relevant. Examining the gaps between words or the nuances of language can contribute to a close reading of the text, revealing subtleties that may impact interpretation.

Interstice: Application in Critiques

1. Crime and Punishment by Fyodor Dostoevsky:
   • Interstice Application: The interstices in Crime and Punishment often lie in the psychological spaces of Raskolnikov’s mind. Dostoevsky expertly explores the gaps between morality and rationalization, making readers question the boundaries between right and wrong. The internal conflicts of the characters reveal the intricacies of human consciousness.
2. Anna Karenina by Leo Tolstoy:
   • Interstice Application: Tolstoy’s narrative is rich with social interstices, portraying the gaps between aristocracy and peasantry, city life and rural existence. The emotional interstices in Anna’s tumultuous relationships underscore the societal constraints and personal sacrifices. The novel masterfully uses these spaces to comment on the complexities of love and societal expectations.
3. The Brothers Karamazov by Fyodor Dostoevsky:
   • Interstice Application: The novel delves into the interstices of faith and doubt, morality and immorality. The relationships between the Karamazov brothers and their father expose the gaps in familial bonds and the clash between different worldviews. Dostoevsky employs these interstices to explore existential and philosophical questions, creating a narrative that is both profound and challenging.
4. One Day in the Life of Ivan Denisovich by Aleksandr Solzhenitsyn:
   • Interstice Application: Solzhenitsyn’s novella is a stark portrayal of life in a Soviet labor camp. The interstices here are the moments of individuality within the dehumanizing environment, emphasizing the spaces where the characters assert their humanity despite the oppressive conditions. These gaps highlight the resilience of the human spirit in the face of extreme adversity.

In each of these Russian novels, the concept of interstice plays a crucial role in revealing the layers of meaning. Whether in the internal struggles of characters, societal divisions, philosophical debates, or moments of personal resilience, the spaces between elements contribute to the richness and complexity of the narratives, inviting readers to engage with the nuances and contradictions present in Russian literature.

Interstice: Relevant Terms

1. Binary Opposition: Contrasting terms; interstices reveal complexities.
2. Liminality: Being in-between; interstices as transformative thresholds.
3. Deconstruction: Analyzing text oppositions; interstices expose contradictions.
4. Intertextuality: Text relationships; interstices reveal connections.
5. Parallax: Shifting viewpoints; interstices created by differing perspectives.
6. Hybridity: Blending genres; interstices challenge traditional boundaries.
7. Palimpsest: Reused writing; interstices in layers of overlapping meaning.
8. Heteroglossia: Coexistence of voices; interstices form in interactions.
9. Rhizome: Non-hierarchical network; interstices in connected nodes.
10. Polyphony: Multiple voices; interstices where perspectives intersect.

Interstice: Suggested Readings

1. Barthes, Roland. S/Z. Hill and Wang, 1974.
2. Derrida, Jacques. Of Grammatology. Translated by Gayatri Chakravorty Spivak, Johns Hopkins UP, 1976.
3. Bakhtin, Mikhail. Speech Genres and Other Late Essays. Edited by Caryl Emerson and Michael Holquist, University of Texas Press, 1986.
4. Deleuze, Gilles, and Félix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia. Translated by Brian Massumi, University of Minnesota Press, 1987.
5. Freud, Sigmund. The Interpretation of Dreams. Translated by James Strachey, Basic Books, 2010.
6. Lacan, Jacques. Écrits: The First Complete Edition in English. Translated by Bruce Fink, W. W. Norton & Company, 2006.
7. Tolstoy, Leo. Anna Karenina. Translated by Constance Garnett, Oxford University Press, 1998.
8. Dostoevsky, Fyodor. The Brothers Karamazov. Translated by Richard Pevear and Larissa Volokhonsky, Farrar, Straus and Giroux, 2002.
9. Solzhenitsyn, Aleksandr. One Day in the Life of Ivan Denisovich. Translated by H. T. Willetts, Signet, 2008.
10. Spivak, Gayatri Chakravorty. In Other Worlds: Essays in Cultural Politics. Routledge, 1988.

Bidirectionality: Etymology

Bidirectionality is a term derived from the fusion of “bi,” meaning two, and “directionality,” denoting the quality of having a specific direction.

In an academic context, bidirectionality refers to the interactive and reciprocal nature of a relationship or process where influence or communication occurs in both directions. It als underscores the idea that causation or effects are not unidimensional but rather mutual, acknowledging the interconnectedness in a system.

This term often appears in various disciplines, such as psychology, communication studies, and sociology, to articulate the dynamic, two-way nature inherent in many phenomena under study.

Bidirectionality: Concept in Literary Theory

Bidirectionality: Definition as a Literary Term

Bidirectionality in theoretical terms refers to the dynamic and reciprocal relationship between different elements in a text.

It signifies the interactive exchange of influence between various components, such as the interplay between the author’s intent and the reader’s interpretation.

This concept underscores the multidimensional connections in a narrative, showing interactions among characters, the temporal structure, and cultural influences, contributing to the nuanced nature of literary meaning.

Bidirectionality: Theorists, Works, and Arguments

Bidirectionality: Major Features

1. Reciprocal Influence: Bidirectionality in literature involves a reciprocal and interactive relationship between different elements within a text. This mutual influence shapes the overall meaning and dynamics of the literary work.
2. Dynamic Reader Engagement: One major feature is the dynamic engagement of the reader. Bidirectionality recognizes that meaning is not solely determined by the author’s intent but is actively constructed by the reader through interpretation and interaction with the text.
3. Intertextuality: Bidirectionality is evident in intertextuality, where texts are interconnected, and one text can influence and be influenced by other texts. This feature emphasizes the ongoing conversation between various literary works.
4. Author-Reader Relationship: The bidirectional communication between the author and the reader is a key feature. Readers bring their own experiences, perspectives, and cultural background to the interpretation of the text, influencing the way they understand and interact with the author’s work.
5. Character-Reader Interaction: Bidirectionality extends to the interaction between readers and fictional characters. Readers may project their emotions onto characters, empathize, or sympathize, creating a dynamic relationship between the reader’s experience and the narrative.
6. Temporal Aspects: Bidirectionality encompasses the temporal aspects of a narrative. Flashbacks, foreshadowing, and other temporal elements create bidirectional connections between past and present events, influencing the reader’s comprehension.
7. Cultural Bidirectionality: Cultural influences play a significant role in bidirectionality. Both the cultural context of the text’s creation and the cultural background of the reader contribute to a bidirectional exchange of ideas and meanings.
8. Narrative Structure: The structure of a narrative, including nonlinear storytelling or multiple perspectives, is a major feature of bidirectionality. Different parts of the text may interact bidirectionally, creating a complex and layered narrative experience.
9. Dialogical Nature: Bidirectionality highlights the dialogical nature of literature. The text and its various components engage in an ongoing conversation with the reader, shaping and reshaping meanings as the reader progresses through the work.
10. Reader Response Theory: – Bidirectionality is a foundational concept in reader response theory. This theoretical framework emphasizes the active role of the reader in constructing meaning, highlighting the bidirectional nature of the reading process.

Bidirectionality: Relevance in Literary Theories

Bidirectionality: Relevant Terms

1. Reader-Text Interaction: Reciprocal engagement shaping meaning.
2. Intertextuality: Web of meaning between texts.
3. Authorial Intent: Author’s intended meaning.
4. Dialogism: Dynamic language interaction.
5. Reception Theory: Reader’s role in interpretation.
6. Cultural Context: Bidirectional cultural influences.
7. Narrative Structure: Organized event arrangement.
8. Hermeneutics: Interpretation theory.
9. Temporal Dynamics: Time-related narrative elements.
10. Cognitive Poetics: Cognitive processes in reading.

Bidirectionality: Suggested Readings

1. Iser, Wolfgang. The Act of Reading: A Theory of Aesthetic Response. Johns Hopkins University Press, 1978.
2. Barthes, Roland. S/Z. Hill and Wang, 1974.
3. Kristeva, Julia. Revolution in Poetic Language. Columbia University Press, 1984.
4. Jauss, Hans Robert. Toward an Aesthetic of Reception. University of Minnesota Press, 1982.
5. Eco, Umberto. The Role of the Reader: Explorations in the Semiotics of Texts. Indiana University Press, 1979.
6. Bakhtin, Mikhail. The Dialogic Imagination: Four Essays. University of Texas Press, 1981.
7. Fish, Stanley. Is There a Text in This Class? The Authority of Interpretive Communities. Harvard University Press, 1982.
8. Booth, Wayne C. The Rhetoric of Fiction. University of Chicago Press, 1983.
9. Rosenblatt, Louise M. The Reader, the Text, the Poem: The Transactional Theory of the Literary Work. Southern Illinois University Press, 1994.
10. Fish, Stanley. Surprised by Sin: The Reader in “Paradise Lost”. Harvard University Press, 1998.