Historia en viñetas: el potencial del cómic para pensar el oficio del historiador

This article discusses the visual and narrative strategies used in promoting educational tourism for children in Indonesia through Instagram posts with the hashtag #wisataedukasi. The research adopts a qualitative approach with content analysis of both visual and narrative aspects of digital posts showcasing educational tourist destinations suitable for families. The aim of the study is to understand how visual and narrative elements work together to shape the audience's perception of educational tourism destinations. The findings show that the visual content in the Instagram posts is dominated by the use of bright colors, cheerful expressions of children, and participatory educational activities. These activities involve direct interaction with nature or animals, such as feeding animals or conducting simple experiments, designed to create a fun learning experience for children. Narratively, captions tend to use casual and consultative language, with word choices emphasizing excitement, togetherness, and the educational benefits that can be gained from visiting these destinations. The representation of the complete family in the content plays an important role in building the image of educational tourism as a space that supports quality family time. Additionally, the use of relevant and popular hashtags strengthens the association of educational tourism destinations with modern parenting, which emphasizes learning while playing. This visual and narrative strategy has been proven effective in building emotional engagement with the audience and creating a positive perception of educational destinations. Overall, this article concludes that social media, particularly Instagram, plays a significant role in shaping the branding of educational tourism. It is therefore recommended to continue strengthening visual and narrative content strategies tailored to the preferences of young families as the primary target for promoting children's educational tourism.

RESISTING CONVENTION: THE FILMS OF JOE COMERFORD JERRY WHITE Throughout his career, filmmaker Joe Comerford has fiercely challenged mainstream ideas about Irish selfhood. Juxtaposed with the images of Ireland that have filled film screens until the 1960s, Comerford’s work is assertively anti-romantic and offers a rigorously anti-colonial critique of the “New Ireland.” In his treatment of landscape, for example, Comerford eschews traditional preoccupation with the picturesque—with the conventional iconographic project of making Ireland look beautiful, or, alternately, harsh and rugged. His unstable landscapes connote danger and anxiety rather than beauty or grandeur. Further, his work explicitly concerns itself with those on the margins: drug addicts, the desperately poor of Dublin, traveling people, gay men, and criminals on the run. This concern with the periphery breaks down essentialist ideas such as fíor ghael or the “Celtic Tiger,” and interrogates Ireland’s confrontation of its postcolonial future. Drawing on a wide variety of visual and narrative strategies , Comerford intentionally offers “imperfect” solutions to the problem of representation raised by modern Irish culture. In fact, the notion of imperfection itself figures prominently in the debates into which Comerford hurls himself. CONTEXT Although Comerford participates in a blossoming indigenous motion picture community that seeks to correct conventional visualizations of Ireland , his work stands apart from much of the recent Irish cinema receiving international attention. Comerford’s densely constructed films, which should be viewed in both a national and international context, offer contradictory mixtures of narrative, political, and avant-garde strategies. Echoing both the French New Wave and the Third Cinema movement, they combine traditional narrative with techniques that undermine illusionistic realism. THE FILMS OF JOE COMERFORD 134 Comerford aggressively avoids Hollywood’s1 choice to subsume both formal innovation and explicit ideology to the demands of realism. His work is unusual not only because it is confrontational or anti-authoritarian , both formally and politically, but because it clearly chooses to be so. These films distinguish themselves from popular cinema by asserting themselves as ideological representations. Whereas most of Comerford’s films have a narrative drive,2 complete with a beginning, a middle, and an end, he never bypasses formal and political concerns in favor of an obsessive focus on narrative linearity and closure. Neither entirely avant-garde nor entirely conventional, his work has an ambiguous relationship with dominant models of cinema. To some extent, Comerford’s films evoke French New Wave productions of the 1950s and 1960s; his 1988 Reefer and the Model, especially, recalls the cinema of Jean-Luc Godard. Innovative French filmmakers were deeply, albeit self-consciously, influenced by Hollywood, and Comerford ’s derivative relationship with Hollywood is similarly complex. His first feature, Traveler, draws on elements of the Hollywood road movie; Reefer and the Model on the heist film; and High Boot Benny, on the boarding school melodrama. In each case, though, like his French colleagues of the fifties and sixties, Comerford radically transforms the conventions he exploits in ways quite specific to his own national and historic condition. The concept of “Third Cinema” is equally important in understanding Comerford’s films. First appearing in a fiery and idealistic manifesto (“Hacia un Tercer Cine,” or “Towards a Third Cinema”) by Argentine Fernando Solanas and Spaniard Octavio Gettino,3 the term stresses skepticism toward illusionistic/realist narrative. Solanas and Gettino assert THE FILMS OF JOE COMERFORD 135 1 The term “Hollywood” should not be taken to mean films made only in Hollywood, California, but films made in a realist style, produced in an explicitly commercial framework, and generally fulfilling a schema outlined in David Bordwell, Janet Staiger, and Kristin Thompson’s seminal text, The Classical Hollywood Cinema (New York: Columbia University Press, 1986). 2 Exceptions to this would be his short experimental films Withdrawal (1974), a nonnarrative portrayal of the tormented psyche of a drug addict, or Waterbag (1984), which deals with a woman who has just had an abortion. These films are not discussed in this article, which is restricted to Comerford’s features, or in the case of the fifty-one-minute Down the Corner, his featurette. 3 Published in the Cuban journal Tricontinental in 1969, the essay first appeared in English in Cineaste 4:3...

This article discusses the implementing of the narrative strategy in Olga Lavrentieva’s graphic novel “Survilo”, which is a biographical one, since it reflects the author's grandmother fortune and the stages of the revival of the Survilo family, which becomes the Lavrentiev family. First, the article reviews the main approaches to the graphic novel genre which have developed in the field and supports the ideas about the autonomy of graphic literature genres regarding the specifics of the world representation in a literary text. In this regard, the ground theoretical understanding and interpretation of such works are required. Analysis of the novel “Survilo” showed that the author thinks through the narrative strategies on various levels. The selection of verbal and pictorial means is visible, they begin to work in different ways to introduce the scope of the novel’s ideas and themes. The narrative strategy is revealed at the level of architectonics, when the author of the novel subordinates the paratextual elements of the title and the embedded frame to the idea of reflecting on the content of a particular chapter. The composition of the novel directly interacts with its content, being synthesized through a system of motives and images. To achieve this goal, the author updates the techniques for details’ introduction into graphic storytelling and forms sustainable storytelling pipes. In addition, the narrative mode is revealed in the technical implementation of the verbal text. With the help of various kinds of underlining and the use of different styles, the author successfully imitates the properties of oral speech and conveys the accurate intonation of the replicas, thereby controlling the reader's perception to a greater extent. The metaphorical potential of the artistic and graphic “word” used in this text is also considered. As a result, it was revealed that the author of the novel “Survilo” has implemented a complex strategy that is more specific for the novel rather than the comic book.

The goal of this paper is to provide an analysis of Joe Abercrombie’s ten volume cycle The First Law which can be seen as a conscious subversion against traditional fantasy tropes, especially that of Tolkien’s. Abercrombie’s cycle is analyzed in regard to its plot structure, worldbuilding, narration and narrative strategies, as well as numerous allusions to historical events. Abercrombie’s protagonists’ pessimistic worldview and general sense of despair, hopelessness and nihilism lead to creation of a new fantasy sub-genre called grimdark fantasy. Connotations of the said term are analyzed with emphasis on its vague meaning and often arbitrary use. The consequences of Abercrombie’s literary strategy are then confronted with conventional strategies of fantasy worldbuilding with the conclusion that the author’s approach is, at least in some degree, destructive to traditionally associated with the fantastic literature goals such as escapism or worldbuilding sensu stricte. Ultimately The First Law becomes a grim social commentary book cycle somewhat reminiscent of Terry Pratchett’s late Discworld novels.

Reviewed by: Toward a Latina Feminism of the Americas: Repression and Resistance in Chicana and Mexicana Literature Yolanda Padilla Keywords Yolanda Padilla, Anna Marie Sandoval, Toward a Latina Feminism of the Americas: Repression and Resistance in Chicana and Mexicana Literature, Feminism, Latin America, chicano, chicana, Latina/Latino Studies, Mexicana Literature, Chicana Literature Sandoval, Anna Marie. Toward a Latina Feminism of the Americas: Repression and Resistance in Chicana and Mexicana Literature. Austin: U of Texas P, 2008. xvi + 129 pp. Anna Marie Sandoval’s Toward a Latina Feminism of the Americas appears at a timely moment in Chicana/o and Latina/o studies. To an important extent, these [End Page 289] fields of inquiry have led the current hemispheric/transnational turn that is gaining prominence in American studies. Sandoval contributes to such transnational work through a feminist analysis of Chicana and Mexicana literature, one that highlights the similarities in the discursive strategies and political commitments of each in an effort to “braid Chicana and Mexicana subjectivities” (the subtitle of her first chapter). Few scholars have studied these literatures together, and, to my knowledge, none have devoted an entire book to such a project. There are at least two suggestive antecedents for Sandoval’s work. Debra A. Castillo’s Talking Back: Toward a Latin American Feminist Literary Criticism (Ithaca: Cornell UP, 1992) includes chapters on the Chicana writers Helena María Viramontes and Denise Chávez alongside those on Latin Americans such as Luisa Valenzuela and Rosario Castellanos. Castillo does not explicitly make the case for why she includes Chicanas in her study of Latin American women’s writings, but her readings suggest an affinity in these writers’ narrative strategies (such as the use of silence in the work of Viramontes), strategies that foreground issues of gender in their engagements with cultural and political contexts in a Latin America broadly conceived to include Latinas in the United States. In light of her resistance to developing an “overarching theory” to discuss Latin American literary feminisms (1), her decision not to provide a critical framework that accounts for the inclusion of Chicanas was probably a conscious one. Yet even when they deal with similar cultural coordinates, Chicana and Latin American women’s writings are shaped by and respond to very different contexts. Castillo’s readings and juxtapositions are generative while dispensing with an explicit unifying framework, but the inclusion of a rigorous rationale would be necessary in a monograph devoted to transnational analysis such as Sandoval’s. Like Talking Back, Sonia Saldívar-Hull’s Feminism on the Border: Chicana Gender Politics and Literature (Berkeley: U of California P, 2000) does not take as its central focus a transnational study of Chicana and Latin American women’s writings; it attends much more to the links between U.S. Third World and Chicana feminisms. She ends, however, by suggesting confluences between the genre of testimonio and its enabling of the “previously unheard-of self-representation by subaltern women” and similar kinds of narrative expression employed by Chicana border feminists (161). Asserting a connection between Chicana literature and a significant strain of Latin American women’s expressive culture, Saldívar-Hull argues that these women “articulate a feminist consciousness that cannot be separated from its connection to race and class” (164). As a result, gender politics become inseparable from geopolitics. I start with a brief discussion of these two works in order to convey a sense of what has been done on this kind of critical project and to suggest something of what remains to be done. Given that Sandoval’s central focus in Toward a Latina [End Page 290] Feminism of the Americas is precisely the joint study of Mexicana and Chicana writers, it is much more incumbent on her than on Castillo or Saldívar-Hull to provide a rigorous rationale, whether on historical, cultural, political, or aesthetic grounds. To this end, Sandoval identifies and examines a number of common cultural and thematic touchstones, including redefinitions of family, the influence of the Catholic Church, and, most importantly, the writers’ “re-visionings of traditional cultural symbols” such as La Llorona, La Virgen de Guadalupe, and La Malinche (9). Along with the “reshaping of cultural symbols...

This article explores the representation of time in linguistics and literature, highlighting its subjective and malleable nature. Drawing on the work of linguists who demonstrate that time, as expressed in language, does not necessarily reflect an objective reality but rather results from a cognitive and discursive construction, the study emphasizes the concept of the temporal field - understood as a mental organization of events based on reference points chosen by the speaker. This article illustrates its argument through narrative examples. It specifically examines temporal flexibility in everyday speech and fictional narratives, where verb tenses and contextual markers enable the transposition of temporal frameworks. The analysis focuses on Thérèse Desqueyroux, a novel by François Mauriac, to show how temporal variations structure the narration and enrich the understanding of characters and events. The article also highlights the temporal field manipulation in literature, a narrative strategy that makes the subjectivity of memory and perception visible in the main character, thereby underscoring the complexity of time as a linguistic and cognitive category.

Matija Vertovec (1784–1851) was born in Vipavsko. As a priest, he was also engaged in history, geography, chemistry, physics and astronomy, as well as agriculture, wine-growing and winery in particular. He was a member of Bleiweis’s Novice from the day of their establishment in 1843. Vertovec was a popular preacher and published some of his selected sermons and speeches in the book Shodni ogovori (1850), in which we can find various narrative strategies and structures: rhetorically formed narrative examples, the drama of events, picturesque descriptions, imagination, intertextual processes, etc.

This chapter examines points of overlap between mythography and Greek vase painting. Although vase painters had different goals from mythographers, they used similar organizational and rhetorical strategies to present and reflect on myth. The chapter shows that the strategies of narrative, catalogue, and pendant can be detected in both vase painting and mythography. The François vase is discussed as an example of visual narrative and catalogue; the “Heroines pyxis” in London is treated as a second instance of catalogue; and Makron’s skyphos depicting the abduction and recovery of Helen is offered as an instance of pendant images. While vase paintings were not strictly mythographic in themselves, the examples considered in this chapter suggest that painters expected viewers to be adept at the same sorts of narration and comparison that made mythographic thought possible. The chapter ends by discussing some limitations of the approach that compares vase painting and mythography.

REVIEWS 707 perhaps, she displays an infectious enthusiasm for her subject. The biblio graphy is comprehensive and there are extensive quotations from secondary sources. Quotations fromRussian critics are given firstinEnglish translation and then in the original. The author is a little over-conscientious in this respect and thebook isoccasionally rather too reminiscent of a doctoral thesis. In one place, for instance, (p. 42) Simon Dixon's perfectiy sound, but unexcep tional, observations about the importance of the Decembrist Revolt are perhaps given undue weight, whilst in at least one other place (p. 31) the reader isat three removes (in this case Smith ? Schweikart ? Fish) from the body ofwork under discussion. The proof-reading of thisvolume could have been better. There are at least thirty-seven typographical errors, and a number of names are wrongly spelled: Adolphe, Bayley, Beranger (who does not appear in the index under any spelling), Breton, Boccaccio, Diderot, Fennell, Ginzburg, Holderlin, Loseff, Propertius and Schopenhauer. The name of Pushkin's nemesis is spelled Benckendorff and Benkendorff on the same page (p. 209) and is given two apparently unrelated entries in the index. Petr Viazemskii suffers much the same fate.A couple of dates ? those ofMaiakovskii's death and theBattle of Poltava ? are one year out (pp. 224, 318). However, in the final analysis, these are minor irritants and Rodopi are to be congratulated on continuing, through this excellent series, to flythe flag forRussian literature.To use one of the author's favourite adjectives, this is an 'insightful'book, written, to use twomore Smith favourites, both 'convincingly' and 'compellingly'. Maidenhead Michael Pursglove Whitehead, Claire. The Fantastic inFrance and Russia in the NineteenthCentury: In Pursuit of Hesitation. Studies in Comparative Literature, io. Legenda, Oxford, 2006. x + 170pp. Notes. Bibliography. Index. ?45.00: $69.00. This recent volume from the Legenda imprintmaintains the high standards of production and academic excellence in the field of comparative literature that readers have come to expect from the marque. A study in the genre of the fantastic, cleaving to the terrain mapped out in Tzvetan Todorov's classic investigation of the subject, Introduction a la litterature fantastique (Paris, 1970),The Fantastic in France and Russia in the Nineteenth Century sets out to test and confirm the earlier author's definition of the genre while supplementing his theoretical framework with furtherparameters. The approach taken is to subject eight representative fictional texts of the nineteenth century, four French and four Russian, to close stylistic and linguistic scrutiny. Each chapter consists of a pairing of twoworks chosen for theirmarked similarities in construction. In this respect, Claire Whitehead's treatment is reminiscent of the one employed with such distinction by L. Michael O'Toole in Structure, Styleand Interpretation in theRussian Short Story (New Haven, CT and London, 1982), a work not referenced in the extensive six-and-a-half page bibliography. Yet, whereas O'Toole confined himself to the Russian short story, Whitehead examines longer works of fiction in the course of her analysis and the selection is 708 SEER, 86, 4, OCTOBER 2008 comparative. The methodology, however, likeO'Toole's, remains resolutely Neo-Formalist: art as technique, ninety years after Shklovskii formulated his axiom. Such an approach is both a strengthand a limitation. It is a strength in that in enables Whitehead to focus her attention exclu sively on those narrative strategies and literarydevices available to an author who draws upon the full range of the expressive capacity of either the French or the Russian language to invest the textwith the sense of hesitation so crucial to the establishment of the fantastic.Whitehead contends pointedly in the Introduction that 'Todorov's investigation of the triggersfor hesitation in the fantastic is incomplete because he shows greater interest in the events than in the devices used to present them' (p. 4). The subsequent tracking down of narrative and syntactical devices occupies four chapters. Chapter one analyses the language of Pushkin's Queen ofSpades (1834) and Gautier's Spirite (1865) in order to establish how the effectsof believability and hesitation are embedded in the respective Russian and French texts.Both theseworks are examples of third-person narrative or, asWhitehead (followingGenette) prefers to call it, a heterodiegetic narrative voice. Chapter two...

The article is devoted to the consideration the problem of the phenomenon of an unreliable narration in the British intellectual prose of the second half of the twentieth century (Golding, Murdoch). The meaning of the words “narrator”, “unreliable narration” is investigated. The unreliable narration is reviewed based on the example of the novel “Rites of Passage” by Golding (1980). It is noted that the aforementioned work has a vibrant didactic component. It has been found that Golding uses a wide range of narrative techniques. The emphasis is made on the critical analysis by other literary scholars of the novel “Rites of Passage” by Golding. The use of narrative strategies in accordance with the scientific classification by Genette (1980) is investigated. The markers of unreliability of the narrators are emphasized. Attention is focused on the fact that a high degree of unreliability is based on the limited knowledge of the heroes, direct participation in the events, a problematic system of values. It is noted that the unreliability of narration in the novel “Rites of Passage” by Golding forces the reader to doubt not only the narrator but oneself. The use of the narrative method in the intellectual prose of the British writer Iris Murdoch is investi-gated. It has been found that the novel “The Black Prince” by Iris Murdock (2006) is one of the best examples of an unreliable narration. The genre specifics of the novel are emphasized, which combines the forms of the diary, of the memoir and of the confession. In addition, Murdoch creates a narrative strategy, which combines signs of various forms of “I am the narrator” within the framework of one narrative. In addition, “The Black Prince” is a unique model of modern artistic and philosophical metatext genre formation.

This chapter argues that we are currently witnessing a shift away from the trauma paradigm toward a new, post-trauma paradigm that manifests itself most strongly in the concept of resilience. Among the potential meanings and possibilities of trauma, resilience is being hailed as the quality that individuals, communities, and whole societies must possess in order to survive and thrive in a world of ubiquitous risk and crisis. While it draws on recent research from psychology and the social sciences, the chapter primarily aims to contribute to an understanding of the ways in which resilience - both in the individual psychological and in the social-ecological sense - is significantly constructed through narratives. Discussing various literary (e.g., Chris Cleave’s The Other Hand) and non-literary examples of resilience narratives, the chapter sketches out a cultural narratology of resilience that would enable us to come to terms with the narrative strategies and techniques as well as the cultural values, patterns, assumptions, ideologies, political agendas, and societal norms implicated in those stories.

Charles Dickens in Cyberspace opens a window on a startling set of literary and scientific links between contemporary American culture and the nineteenth-century heritage it often repudiates. Surveying a wide range of novelists, scientists, filmmakers, and theorists from the past two centuries, Jay Clayton traces the concealed circuits that connect the telegraph with the Internet, Charles Babbage's Difference Engine with the digital computer, Frankenstein's monster with cyborgs and clones, and Dickens' life and fiction with all manner of contemporary popular culture--from comic books and advertising to recent novels and films. In the process, Clayton argues for two important principles: that postmodernism has a hidden or repressed connection with the nineteenth-century and that revealing those connections can aid in the development of a historical cultural studies. In Charles Dickens in Cyberspace nineteenth-century figures--Jane Austen, Charles Darwin, Charles Dickens, Thomas Hardy, Henry James, Ada Lovelace, Joseph Paxton, Mary Shelley, and Mary Somerville--meet a lively group of counterparts from today: Andrea Barrett, Greg Bear, Peter Carey, Hélène Cixous, Alfonso Cuarón, William Gibson, Donna Haraway, David Lean, Richard Powers, Salman Rushdie, Ridley Scott, Susan Sontag, Neal Stephenson, Bruce Sterling, and Tom Stoppard. The juxtaposition of such a diverse cast of characters leads to a new way of understanding the "undisciplined culture" the two eras share, an understanding that can suggest ways to heal the gap that has long separated literature from science. Combining storytelling and scholarship, this engaging study demonstrates in its own practice the value of a self-reflective stance toward cultural history. Its personal voice, narrative strategies, multiple points of view, recursive loops, and irony emphasize the improvisational nature of the methods it employs. Yet its argument is serious and urgent: that the afterlife of the nineteenth century continues to shape the present in diverse and sometimes conflicting ways.

The article is devoted to the study of the graphic prose evolution, from entertainment comics forms to thoughtful «graphic novel» form and the phenomenon of visual sequential narrative on W. Eisner‘s prose. The article discusses the comic as a self-contained art which through the use of iconic system, simultaneous and interrelated verbal and visual impact, that is why it belongs to neither literature nor painting. Thus, on the boundaries of the modified image and text appears visual arts literature, whose fiction and non-fiction texts, built on a combination of the two levels of communication – verbal and visual. The focus of analysis is placed upon the main difference between the comic book and graphic novel. The graphic novel avoided the subject, focusing on social problems and personal dramas, and most importantly, more emphasis on narrative strategies. The narrative is the core of comics that pull together the literature and it gives the right to define it as a graphic prose.

Comic books and their stories have risen to dominate much of popular culture over the last few decades. Superheroes and the like are now found in all areas of our media—books, movies, television. Accompanying this rise to prominence has been a conscious effort in comics to better speak to and for the diverse audiences that are engaging these stories. No longer are the vast majority of heroes white, cisgender men (much to the chagrin of some of the white, cisgender male readers … but this review is not about the Comicsgate controversies). Nor are discussions of these changes held solely among such an audience. Indeed, the presentation of diverse people and the various beliefs they may hold has become a point of discussion for academics concerned about this development in comics media. The two books discussed here examine the underlying value to readers of these diverse representations. Sophia Rose Arjana’s Veiled Superheroes analyzes portrayals of “Muslimah (Muslim female) superheroes, who often, but not always, practice veiling” (xv) as both positive constructions and critiques of Muslim and female identities when they are portrayed in various comics media in ways that are “anti-colonial, feminist, and liberational” (xx). Arjana discusses projects that feature Muslimah heroes to confront numerous stereotypes about Muslims in general, with a focus on depictions of Muslim women and the use of veiling, and she offers a vision of these Muslimah heroes that demonstrates freedom and agency. Ken Koltun-Fromm’s Drawing on Religion puts forth a strategy for reading comics that offers some tools by which readers are better able to examine the multiple modes of religious representation employed in comics. Koltun-Fromm works to illustrate how comics “both expand and limit our ethical worlds” through “visual representations and the ethical presentation of self, community, and religious practice” (2), and Arjana addresses the tension between comics as a static medium imbued with artistic and narrative strategies and the reader’s responsibility for grappling with them. These texts therefore introduce readers to crucial issues at the heart of depictions of religions in comics and steer readers to engage that material in new ways. Taken as a pair, Koltun-Fromm provides a general survey from which all comics readers could benefit, whereas Arjana offers a deep-dive into the troubles of depicting a specific community and the ways that comic creators negotiate those issues. Each author deftly contends with the adage that “representation matters” and with the specific representations of religious life that comics offer.

Seriality and Storytelling in Social Media Ruth Page (bio) Serial form has long been of interest to narrative scholars, but the characteristics of serial narrative identified thus far have been derived primarily from fictional examples in older media forms such as print texts and television. The key characteristics of serial form (e.g., part-whole segmentation and sequenced installments) can also be found in other storytelling modes, including stories that emerge from contemporary social-media contexts. In this article, using nonfictional as well as fictional narrative examples taken from social-network sites (YouTube), microblogging (Twitter), and wikis (Wikipedia), I identify both familiar and new patterns of seriality. Alongside recognized, familiar kinds of serial narratives, the new forms of seriality include non-teleological storytelling, reverse-order archiving, and the sequenced deletion (rather than addition) of material. Overall, the social-media serial forms I discuss highlight the way seriality is often a matter of degree and emphasize the importance of attending to the relationship between narrative process and product. The [End Page 31] relative nature of seriality reinforces the need for a contextualized approach to narrative criticism, one that takes account of the perspectives of narrators and audiences, along with the sociohistorical situation of stories that emerge in serial form. Serial Form and Narrativity Narrative analysts have explored serial forms in discussions of nineteenth-century literature (Hayward 1997; Hughes and Lund 1991), television narrative (Mittell 2007), comic books, and film serials (Barefoot 2011), and they are beginning to engage with newer media such as computer games (Newman and Simon 2011), fandoms (Thomas 2010), and web-disseminated narratives (Lang 2010). These serial forms have provided vital stimulus for exploring narratological issues such as plot dynamics, suspense, and teleological resolution; for contrasting episodic and serial genres; and for tracing the evolution of particular serial forms from conventional to more complex modes (Mittell 2006). Despite the transmedial, broadly historical scope of these discussions, the focus has almost exclusively rested on fictional genres (but see Kelleter forthcoming as an exception to this trend). What is more, in identifying core attributes of serial narratives, analysts have tended to rely on a specific subcorpus of largely plot-driven, fictional modes. To come to terms with the full range of serial storytelling, theorists need to consider other varieties of serial narration, including those found in contemporary social-media contexts. The examples I focus on in this article suggest an alternative subcorpus that affords new insights into serial form. In particular, the social-media storytelling brought under scrutiny here—storytelling in wikis, social-network sites, and microblogging sites—highlights the importance of considering modes of production and reception in studies of seriality. These modes may be set alongside those found in offline forms of narration and in other online narrative environments that would not be classed as social media (e.g., hypertext fiction or e-mail novels). The social-media focus of this article thus extends the range of serial examples used as a basis for theory building while also underscoring the potential for seriality to be reconfigured in novel communicative contexts. [End Page 32] In much of the previous scholarship on serial narratives, the qualities of seriality are assumed rather than clearly defined. Hayward (1997), though, provides a starting point with her description of the serial as “an ongoing narrative released in successive parts” (3). Jones (2005) further suggests that there is usually a gap between one serial installment and the next and that the installments are often disseminated on a regular basis (e.g., publication may occur on repeated daily or weekly occasions). As Hayward’s description implies, in contrast with wider-scope discussions of the history of serial publication (Amiran 1997; Brake 2010), analyses of serial form mainly concern themselves with narrative examples rather than with other genres (such as expository discourse). Yet not all serial publication involves narratives. Simply producing a text in segments over time does not a narrative make: the content of that text must demonstrate narrativity. At its simplest, a narrative must report a temporally ordered sequence of events; however, as Ryan (2007) points out, a number of additional factors are oft en invoked as markers of narrativity, that is, the qualities that...