FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W2525488873> ?p ?o ?g. }

• W2525488873 endingPage "9" @default.
• W2525488873 startingPage "1" @default.
• W2525488873 abstract "Medieval Narratives: Living On Ruth Evans and Ana M. Montero Introduction What we understand today by the term “narrative” is not universal or transparent. Nor is the cultural work that narratives do. That work varies across different cultures and at different times. According to the OED, the two main current definitions of narrative are the “spoken or written account of connected events; a story,” and the “practice or art of telling stories.” The first definition highlights the emplotting aspect of narrative, namely that it does more than describe events because it makes connections between them, while the second points to the narrator’s deployment of technique, expertise, and conventions within a defined social situation. Storytelling not only requires skill but also presupposes an audience. Medieval understandings of narrative share these broad modern definitions. But if we look at the more specialized meanings of the term, we see some differences in the range of meanings between now and the Middle Ages. The word “narrative” is not a medieval one. It is first recorded in English in 1539 as a term in Scottish law meaning “[a] part of a legal document which contains a statement of alleged or relevant facts closely connected with the matter or purpose of the document” (OED). Its more common meaning—“[a]n account of a series of events, facts, etc., given in order and with the establishing of connections between them”—is first attested in 1571. Later, it acquires a more specialized meaning in the field of literary criticism, first recorded in 1843: “[t]he part of a text, esp. a work of fiction, which represents the sequence of events, as distinguished from that dealing with dialogue, description, etc.; narration as a literary method or genre.” In the second definition, a “narrative” unfolds chronologically (“in order”) and establishes connections: it is not the mere recounting of events and facts but an attempt to shape those events and facts by articulating their inter-relationality in a way that [End Page 1] is intentionally meaningful—what we might call, in relation to literary texts, “plot.” In this sense, a narrative is more than a story. As the British writer and critic E. M. Forster puts it: “The king died and then the queen died is a story. The king died, and then the queen died of grief is a plot.”1 In the third, literary critical or narratological definition, “narrative” is not only a characteristic of fiction—that is, it presents imagined events that are not (necessarily) true—but it also refers uniquely to that aspect of narrating that deals with time, the linear unfolding of events, as opposed to other literary modes, such as dialogue and description, which are not so closely connected to temporality. In twentieth-century structuralist and poststructuralist theory, “narrative” acquires an even more specialized meaning: the “representation of a history, biography, process, etc., in which a sequence of events has been constructed into a story in accordance with a particular ideology; esp. in grand narrative . . . a story or representation used to give an explanatory or justificatory account of a society, period, etc.” (OED). One familiar medieval grand narrative that took many shapes, and that was current from at least the ninth century, is that of translatio studii et imperii, meaning the transferral of power from Rome, and of learning from Athens or Rome to Paris. The translatio narrative is imperialist: the translation of the “other” into the terms of first the Roman and second the Carolingian empire, through the cultural appropriation and displacement (often aggressive) of classical texts.2 Narratives can thus also represent and organize historical events ideologically, enshrining the values and interests of ruling elites, and presenting the “truth” of what happened in highly specific ways. In Anna Wilson’s words, “culturally determined narrative structures shape . . . our perception of reality.” 3 These structures also shape the organization of time into narrative in historical works. As Wilson argues, the historian Hayden White’s Metahistory: The Historical Imagination in Nineteenth-Century Europe (1973) “organizes historical works into different dramatic forms and prefigurative narrative strategies. The ‘emplotment’ of history, White suggests, follows one of four generic narratives that have arisen from dramatic conventions in Western..." @default.
• W2525488873 created "2016-10-07" @default.
• W2525488873 creator A5049019515 @default.
• W2525488873 creator A5083163261 @default.
• W2525488873 date "2015-01-01" @default.
• W2525488873 modified "2023-10-17" @default.
• W2525488873 title "Medieval Narratives: Living On" @default.
• W2525488873 cites W1486393111 @default.
• W2525488873 cites W1541276450 @default.
• W2525488873 cites W1994907487 @default.
• W2525488873 cites W2011025955 @default.
• W2525488873 cites W2125176215 @default.
• W2525488873 cites W2137149002 @default.
• W2525488873 cites W2166675747 @default.
• W2525488873 cites W2514731951 @default.
• W2525488873 cites W2796546923 @default.
• W2525488873 cites W2946117559 @default.
• W2525488873 cites W438211167 @default.
• W2525488873 cites W566404743 @default.
• W2525488873 doi "https://doi.org/10.1353/ems.2015.0000" @default.
• W2525488873 hasPublicationYear "2015" @default.
• W2525488873 type Work @default.
• W2525488873 sameAs 2525488873 @default.
• W2525488873 citedByCount "0" @default.
• W2525488873 crossrefType "journal-article" @default.
• W2525488873 hasAuthorship W2525488873A5049019515 @default.
• W2525488873 hasAuthorship W2525488873A5083163261 @default.
• W2525488873 hasConcept C107038049 @default.
• W2525488873 hasConcept C111472728 @default.
• W2525488873 hasConcept C124952713 @default.
• W2525488873 hasConcept C12772571 @default.
• W2525488873 hasConcept C138885662 @default.
• W2525488873 hasConcept C142362112 @default.
• W2525488873 hasConcept C199033989 @default.
• W2525488873 hasConcept C2776538412 @default.
• W2525488873 hasConcept C2780876879 @default.
• W2525488873 hasConcept C41895202 @default.
• W2525488873 hasConcept C50159415 @default.
• W2525488873 hasConcept C543933250 @default.
• W2525488873 hasConcept C95457728 @default.
• W2525488873 hasConceptScore W2525488873C107038049 @default.
• W2525488873 hasConceptScore W2525488873C111472728 @default.
• W2525488873 hasConceptScore W2525488873C124952713 @default.
• W2525488873 hasConceptScore W2525488873C12772571 @default.
• W2525488873 hasConceptScore W2525488873C138885662 @default.
• W2525488873 hasConceptScore W2525488873C142362112 @default.
• W2525488873 hasConceptScore W2525488873C199033989 @default.
• W2525488873 hasConceptScore W2525488873C2776538412 @default.
• W2525488873 hasConceptScore W2525488873C2780876879 @default.
• W2525488873 hasConceptScore W2525488873C41895202 @default.
• W2525488873 hasConceptScore W2525488873C50159415 @default.
• W2525488873 hasConceptScore W2525488873C543933250 @default.
• W2525488873 hasConceptScore W2525488873C95457728 @default.
• W2525488873 hasIssue "1" @default.
• W2525488873 hasLocation W25254888731 @default.
• W2525488873 hasOpenAccess W2525488873 @default.
• W2525488873 hasPrimaryLocation W25254888731 @default.
• W2525488873 hasRelatedWork W2083406444 @default.
• W2525488873 hasRelatedWork W2359599609 @default.
• W2525488873 hasRelatedWork W2370660642 @default.
• W2525488873 hasRelatedWork W2380354017 @default.
• W2525488873 hasRelatedWork W2383447517 @default.
• W2525488873 hasRelatedWork W2393727725 @default.
• W2525488873 hasRelatedWork W3160494535 @default.
• W2525488873 hasRelatedWork W4231806076 @default.
• W2525488873 hasRelatedWork W4295933355 @default.
• W2525488873 hasRelatedWork W2184630854 @default.
• W2525488873 hasVolume "31" @default.
• W2525488873 isParatext "false" @default.
• W2525488873 isRetracted "false" @default.
• W2525488873 magId "2525488873" @default.
• W2525488873 workType "article" @default.