Narratological Elements Research Articles

Malady of the Mind: Mapping Dimensions of Mental Disorder through Narratological Lens in Jonathan Rosen’s The Best Minds

This paper proffers mapping Mental Disorders by employing a narratological lens in Jonathan Rosen's The Best Minds: A Story of Friendship, Madness, and the Tragedy of Good Intentions focusing on the volatility of emotions, malady of mental disorder through the spectrum of narratology and positing conundrum to the mind. It emphasizes how the mechanism of storytelling mirrors the intricacies of mental disorders in myriad ways. The study involves interdisciplinary techniques combining the psychological theories of Marsha Linehan and Otto Kernberg with relation to literary analysis embodying narratological elements. A narratology is an imperative tool in Literature for shaping psychological representations. It analyzes how the mental disorder is intertwined into the narrative depicting the thematic undertones, structure of plot development, and shaping the identities of the characters. The research encompasses a broader discourse to bridge the gap between the psychological underpinnings of mental disorders and their literary insights.

‘상실’과 ‘저항’: 두브라프카 우그레시치의 포스트유고슬라비아 에세이즘과 그 함의

This research is devoted to the exploration of the implications of the Post-Yugoslav essayistic writings(Post-jugoslavenska esejistička proza) by Dubravka Ugrešić, one of the major contemporary female writers in Croatia through the analysis of their main themes and narrative features. It is the genre of essay that came to the fore in her literary works after she chose to live as an exiled writer. On the whole, it is the feeling of ‘loss’(gubitak) and the attitude of ‘resistance’(otpor) that underlie her essayistic writings, which are subsequently classified into five groups from the thematic points of view as follows. The first one is related to the nostalgic feeling of loss from the disappearance of Yugoslavia and includes those essays that criticize the confiscation and manipulation of the historical memories of ex-Yugoslavia in the new nation states that came to being after the disintegration of SFRY and during the outbreak of the Yugoslav interethnic violences and civil wars. The second group comprises the essays that provide the microscopic observations on the current situations in the Western Balkans in the transitional post-communist period. The third group of essayistic writings addresses the mutual recognitions between the East and the West of Europe, and the changes in recent Europe, caused by refugees and labour migration. The fourth group of essays examines the current status of literature including those ones and their writers in the Western Balkans and emphasizes the necessity of the proper consideration of the transnational literature as an alternative to the conservative national literatures, which have relied on the exclusive nationalistic cultures and have contributed to the identity politics. The fifth group of essays in Ugrešić’s oeuvre is related with the feministic criticism of patriarchal culture and misogyny in the Western Balkans. Based on the frequently repeated narratological elements, the above-mentioned themes are expressed through the authorial colorful tones and writing styles from the writings in fragments and short manifestoes to the long sarcastic feminist critiques and serious political interpretations with the view of diagnosing the crises of humanness(humanitas) from the Western Balkan countries to the West European societies. Ugrešić’s essayism originated from her diverse existential experiences as an exiled writer, and therefore needs to be considered as the heterogeneous and multilayered discourses that lead the readers to the deep contemplation and seeking solutions to the frustrating circumstances after the collapse of the communist countries.

German Theatre and Intercultural Cinema: A Study of the Japanese Film Adaptations of Gerhart Hauptmann’s Plays

In the 1920s Westernization and modernism characterized the cultural life of big Japanese cities, and the cinema quickly became the main entertainment of the urban masses. In this decade studios began to shoot movies following the cinematic techniques and narrative styles of European and American cinema, and increased production of film adaptations of Western literature works popular at that time. This paper focuses on the adaptations of German literature works, specifically of Gerhart Hauptmann plays, produced in Japan during the 1920s. While those films have been lost, stills and reviews of film magazines published at the time of screening have been archived. The study draws on these materials and examines the intertextual and intercultural relations between the films and the literary works. It provides a brief overview on the reception of German literature in Japan, compares the plays and films analysing the permutations in narratological elements, and offers insights on how cultural, political, and social context influenced the directors’ adaptation process.

Orders of Resistance


 
 
 Despite narrative world-building that serves to exploit and expand “gaps and fissures in temporal continuity,” the Star Wars franchise features numerous instances of ‘galactic hauntology,’ wherein particular forms, objects, characters, themes, and other narratological elements occur and inevitably reoccur in a science fiction timeline spanning thousands of years. Entries in the original film trilogy (Episodes IV–VI), renowned for their performance of postmodern anachronism and Jameson’s nostalgia mode, rely on consistent and dominant motifs to ground the audience in a suspended, otherwise dehistoricised, spatio-temporal placement “a long time ago in a galaxy, far, far, away…” In the prequel and sequel trilogies (Episodes I–III; VII–IX), this effect is further complicated by a transition from postmodern Jamesonian ontology to a turn-of-the-millennium hauntology as diagnosed by Fisher through Derrida. This galactic hauntology grasps at spectral figures of the original trilogy’s canonical spatio-temporality in an attempt to mourn and move past the franchise’s recognition of its own lost futures. By interrogating the “persistences, repetitions, [and] prefigurations” of galactic hauntology, we argue that this iterative, cumulative, and self-referential effect produces a ‘force of recognition’ in the viewer, one that is ontologically distinct from postmodern modes of nostalgia, homage, and pastiche. Recognition of these galactic hauntological elements within a given film entry and the larger franchise generates orders of resistance within the text as a necessary condition for engaging with Star Wars as a multi-generational cultural phenomenon.
 
 
 
 
 
 
 
 
 
 
 

Last Bible and Crusade Narrative in the Twelfth Century by Katherine Allen Smith

Reviewed by: Last Bible and Crusade Narrative in the Twelfth Century by Katherine Allen Smith Christopher Freeman Last Bible and Crusade Narrative in the Twelfth Century. By Katherine Allen Smith. (Woodbridge: Boydell Press, 2020. Pp. 306. $24.99. ISBN: 9781783275236). Katherine Allen Smith uses the lens of exegesis to uncover a novel twelfth-century practice of biblical hermeneutics that profoundly shaped early narratives of the First Crusade. Many of Allen Smith’s arguments will be familiar to students of medieval history, but The Bible and Crusade Narrative is anything but redundant. Allen Smith’s work offers new insights into the construction of early crusade narratives and the process whereby the First Crusade passed from memory to written record. Chapter 1, “History and Biblical Exegesis in the Latin West,” argues that medieval narrators saw the First Crusade as a miraculous text that was meant to be glossed. First Crusade writers used their exegetical training to create a new kind of historical narrative that was better suited to record events that seemed to have been ordained in heaven. Allen Smith illustrates that the widespread use of biblical references in early crusade accounts differed from the nearly contemporary accounts of the Norman invasion that predominantly used classical references to record the event. Allen-Smith’s comparative analysis is more comprehensive than previous studies and is able to restore “early crusade historiography to its original context in which the concerns of history and theology were inextricably linked” (p. 47). In Chapter 2, “The Bible in the Chronicles of the First Crusade,” Allen Smith uses quantitative data to “understand the relationship between scriptural study and history, and the ways in which the Bible mediated memory and lived experiences in the medieval Latin West” (p. 91). The author suggests that medieval scriptural study is the key to understanding “the chains of associative thinking that . . . hint at what the twelfth-century writers were thinking as they wrote” (54). Allen [End Page 182] Smith’s analysis of contemporary scriptural practice shows that early crusade accounts were written against “a backdrop of lively . . . debate about the crusade’s historical, allegorical, and eschatological significance” (p. 54). In Chapter 3, “Into the Promised Land,” Allen Smith argues that crusade authors displayed their exegetical training when they used biblical typologies to cast crusaders as Jerusalemites, apostles, and virtuoso performers of Christo-mimesis. Typological practice conditioned the portrayal of Muslims as well. Allen Smith demonstrates that crusade authors made use of the adversos iudeos tradition to cast Muslims according to typologies commonly found in anti-Jewish polemic. Allen Smith’s discussion is enlightening but ignores critical parts of the scholarly tradition. As Pollard and others have shown, medieval anti-Jewish polemic is strongly informed by the Latin tradition of Flavius Josephus, but Allen Smith ignores Josephus almost entirely. This illustrates a problem that results from Allen Smith’s tight focus on biblical allusion: it can create a blindness to other important narratological elements found in these same texts. These elements are important because we can’t fully understand biblical allusion until we consider how the Bible works in conjunction with other traditions that inform crusade accounts. Chapter 4, “Babylon and Jerusalem,” analyzes the impact of Augustinian ideology on early crusade accounts. Allen-Smith suggests that early crusade texts made use of Augustinian dichotomies because “the crusade actualized the conflict between the two cities” (156). Crusade authors applied Augustinian convention when they placed the crusade on the long arc of salvation history: “the crusaders’ literal fulfillment of the Gospel . . . set into motion a new apostolic age” (p. 171). The analysis sheds new light on the use of Augustine in early crusade narratives, but Allen Smith’s tightly focused analysis displaces other important textual considerations. For example, in Allen Smith’s analysis of Augustinian dualism in Baldric of Dol’s Historia, Baldric clearly frames the section of text according to Josephus’s Jewish War and “the deeds of Titus and Vespasian,” rather than Augustine’s City of God, as Allen Smith claims. Overall, The Bible and Crusade Narrative in the Twelfth Century is a much-needed addition to crusade studies and Allen Smith’s work will be a model for analyzing the impact of the...

Plot Patterns in Manga Based on Propp’s narratological elements

This article takes into consideration Vladimir Propp’s work on narratological elements and applies them to the narrative strategies of manga. Through a generalization of Propp’s scheme, an in-depth explanation of how they interact with one another and the addition of several new functions, this work demonstrates that these categories are functional in the study of the narratological elements found in manga. For the purpose of this article, most of the provided examples derive from shōnen manga as they provide for a clearer analysis. The secondary aim is to emphasize that there is room for critical analysis in manga, one that is directly correlated with literature. This medium that combines literature and art, other than having its own history, has evolved along the decades and adapted to the requirements of its generation; it is hence important to acknowledge and value a possible analytical approach.

NARRATIVE CHALLENGES AND METAFICTIONAL AWARENESS IN POSTMODERN LITERATURE: READING ALI SMITH’S "THE WHOLE STORY AND OTHER STORIES"

One of the widespread features of the literary postmodern, and one of its most relevant aspects in epistemic terms, is the foregrounding of the narrative dimension and the problematizing of “facts”. These narratological elements are both influenced by, and have an impact on, contemporary notions of subjectivity and reality. One of the widespread features of the literary postmodern, and one of its most relevant aspects in epistemic terms, is the foregrounding of the narrative dimension and the problematizing of “facts”. These narratological elements are both influenced by, and have an impact on contemporary notions of subjectivity and reality. In postmodern literature the “factuality” of the story is made questionable from different angles, and this is due to several aesthetic and stylistic elements which will be discussed with reference to Ali Smith’s collection of short stories The Whole Story and Other Stories (2004). This is an exemplary text of the literary postmodern, since it represents a unique instance of the dissolution of “factualities”, in which metafiction plays a relevant role. “Facts” in these stories are improbable, suspended, and indeterminate due to a narrative strategy which routinely questions “events” and/or exposes their epistemological constructedness. Readers of these short stories are not only trained into an awareness of metafiction as a major component of the narration, but they are also often left in a state of bewilderment leading to a more or less amused disbelief, or to a profound epistemological questioning.

Прецедентні феномени як репрезентанти американської самоідентичності у романі Стівена Кінга «Інститут»

The phenomenon of precedence in the literary space appears as a linguistic-conceptual and linguistic-cultural construct includes the entire set of precedent names. The role of precedent names in the processes of identification and self-identification of the national-cultural dimension of a person is determined by those emotional-cognitive paradigms that are characteristic of a specific worldview type. Stephen King’s The Institute (2019), chosen as a source of precedent names, stands out against the rest of King’s books and is interesting for a significant number of means of expressing national self-awareness in the American cultural continuum. The explication of precedent names in the novel enables their description as specific cognitive structures of the representatives of American culture, based on Americans’ national-historical and socio-cultural experience, which is an element of self-identity. The Institute centres on the psychic kids kidnapped and put in brutal conditions to conduct experiments on them and serve the dark purposes of powerful men. Despite the novel’s genre belonging to horror, the poetics of which differs from the rest of King’s books and is interesting in that it does not contain most of the traditional bloody scenes, monsters and otherworldly phenomena, the focus of the article is another dimension of literary perception aimed at explicating the means of expressing national self-awareness in the American culture. Exploiting precedent names, with which the novel abounds, creates a recognisable cultural continuum that can serve as an additional way of modelling American self-identity. The study of the modes of representation of these phenomena in the novel has not yet been the subject of thorough scientific research but is also intended to become the basis for deepening the understanding of the complex interaction of emotional and cognitive components in the American worldview matrix through the functioning of the phenomenon of precedence, which determines the relevance of the article. This perspective allows us to consider precedent names not only as narratological elements but as means of accentuating the national, cultural and historical background. The cultural features of the author’s precedent world are characterised by their focus on creating the semantic space of the entire literary work, the expression of the author’s intentions and worldview, and are realised in the text through the functional specificity of the names included in it.

Os elementos da narrativa fílmica “A menina que roubava livros” (2013)

The film “The Book Thief” (2013) – product of an adaptation of the same title Australian book under the direction of Brian Percival – is taken here as an object of study and analysis as an activity linked to the Study Group on Violence, Childhood, Diversity and Art (NEVIDA/UFG) and to the interinstitutional Art, psychoanalysis and education research: aesthetic procedures in cinema and the vicissitudes of childhood (GEPIAP). Therefore, this work aims to discuss the cinematographic work from the narratological elements: narrator and protagonist, as well as analyzing their developments, with emphasis on the encounter of the protagonist child with the Nazi regime and the omnipresence of the figure of the dictator Adolf Hitler, a meeting that precedes the others the narrative displays. The content of the film text invites us to reflect on the relationship between cinema and literature, the understanding of reading and writing as refuges from barbarism, the school at the service of Nazism, among other threads launched by the plot supported by aesthetic devices that will also be addressed in the film analysis anchored in the guidelines of Galiot and Leté (1994) and in the phenomenological perspective. It is also added as a theoretical framework Benjamin (1984; 1994), Truffatut (2005), Tarkovski (1998), Bowdell (2008) and Marcello (2008).

Marie-Catherine d'Aulnoy : La précurseur d'un genre littéraire

O conto de fadas, tal como o conhecemos hoje em termos de estrutura e de elementos narratológicos, adquiriu forma literária definitiva em território francês entre os séculos XVII e XVIII. A crítica literária especializada (BACKSCHEIDER, 2013; HAASE, 2008; SCHACKER, 2015; SERMAIN, 2005; ZIPES, 2012) atribui a Marie-Catherine Le Jumel de Barneville, a Condessa d’Aulnoy, tanto a cunhagem do termo “conto de fadas” (conte de fées) quanto a autoria do primeiro conto de fadas literário, “A Ilha da Felicidade” (L’Île de la Félicité), de 1690. O presente artigo tem por objetivo divulgar a vida e a obra literária de Marie-Catherine d’Aulnoy, autora que permanece fora do cânone do gênero por ela inaugurado, bem como estabelecer uma proposta de recepção crítica atualizada.

Systematizing evil in literature: twelve models for the analysis of narrative fiction

AbstractWhile there are interesting connections between literature and evil, there is as of yet no systematic collection of models of evil to study literature. This is problematic, since literature is among other things an evaluative discourse and the most basic evaluative category is the polarity of good versus evil. In addition, evil shows important affinities with basic narratological principles. To initiate a discussion of models of evil for the analysis of literature, this article organizes a dozen models of evil into four groups. The first consists of a core model which coincides with basic narratological elements in character analysis and narrative tension. The second group contains two pre-modern models of evil, defilement and moral-natural evil. The third group takes its cue from personality theory and proposes the five-factor model of personality and an enriched “dark triad,” and, to balance description against narration, a model which categorizes kinds of murder. The last group organizes six models around the thematic opposition between nature and society, an opposition which forms the backbone of Western philosophy and narrative. To test their validity, the models are applied to a series of literary examples/characters, above all Grendel (Beowulf), Browning’s “My Last Duchess,” and Carol Oates’ short story “Heat.”

Excavating the Modern Self: Haggard’s Egyptological Romances

Henry Rider Haggard’s Egyptomania took many shapes, from regular journeys to Egypt to extensive collections of ancient Egyptian artefacts. This article looks more particularly at Haggard’s representation of ancient Egypt in his literary works and at the implications of his narrative choices in the scientific and imperial context in which he wrote his Egyptological romances. By establishing genealogical links between ancient Egypt and modern Britain through the literary form of archaeological fiction, Haggard constructs a palimpsestic vision of individual and collective history that can be read both in psychoanalytical and in imperial terms. This paper examines the place Egypt occupies in Haggard’s imagination by considering some of the narrative and narratological elements shared by his Egyptological romances, with a particular focus on The Ancient Allan and “Smith and the Pharaohs”. The depiction of Egypt as an oneiric place located within the Victorian mind and as the origin of a layered modern identity suggests an ambivalent interpretation of Haggard’s imperialist stance at the turn of the twentieth century.

Relation between evaluative stances and narratological elements in an audio description script for theatre

The question of neutrality in audio description (AD) has been discussed by professionals and researchers. Following several studies started by Praxedes Filho and Magalhães (2013, 2015), this article analyzes if evaluative stances identified via the Appraisal System (AS) in the AD script of the play Miralu and the Magic Telescope (Miralu e a Luneta Encantada) can be related to narratological elements. For this purpose, we have adopted a corpus-based methodology, using categories of AS, up to the second level of delicacy, as well as narratological ones based on Jiménez Hurtado (2010) and Pavis (2011, 2015). As a result, we have found 166 co-occurrences of evaluative stances and narratological elements, among which there are 73 (43,98%) associated to gesture, 42 (25,30%) to costume and 40 (24,10%) to lighting descriptions. These findings suggest that these co-occurrences are probably not coincidental, taking into consideration that other studies have already pointed out the importance of subjective description in the AD scripts.

Narrating the Ugandan nation in Mary Okurut’s The Invisible Weevil

This article seeks to study how Mary Okurut narrates the Ugandan nation through her novel The Invisible Weevil while at the same time exploring how the author centers upon women in her imagination of the new nation. The arguments in this article are derived from concepts proposed by Benedict Anderson and Homi Bhabha, among other scholars, on nationalism. These are arguments that explore the question of identity formation in nations and what holds these nations together in terms of their cultural standpoints and even at times a desire for a better nation for future generations. Through a close textual analysis that focuses on elements of narratology, the study explores the issue of nationalism in the novel. Of interest to this study is how Okurut as a contemporary writer engages history in the novel to narrate the nation and the challenges it faces as it evolves through different and tumultuous leaderships. The narration is undertaken through the viewpoint of various characters who describe different periods, thus creating a channel through which knowledge from each epoch is transmitted by the actions of women who attempt to define a new nation of Uganda that would be devoid of pestilence from ‘the invisible weevil’.

CLAVES GENÉRICAS Y TEMÁTICAS DE LAS NARRACIONES INFANTILES Y JUVENILES DE AGUSTÍN FERNÁNDEZ PAZ

Después de presentarse la producción literaria de Agustín Fernández Paz como un macrotextoasentado en la recurrencia a ciertos asuntos, elementos narratológicos, aspectos ideológicos etc., seanuncia que el objeto de este estudio se centra en el tratamiento dado a los géneros y temas en susobras dirigidas al público infantil y juvenil. Sus propuestas genéricas, que se definen por un marcadoeclecticismo, son estructuradas y analizadas desde cuatro vertientes: fantástico-realista, realista, fantásticay otras modalidades; mientras que sus temáticas, caracterizadas también por sus constantesintersecciones, se revisan desde los siguientes bloques: psicológico, social e ideológico y el binomiorealidad-imaginación. El repaso por la creación de este docente escritor desde esta doble perspectiva,sin duda, pone de manifiesto el carácter renovador depositado en los temas y estructuras ya ensayadosque incluye en sus narraciones, así como su capacidad para incorporar motivos o esquemasformales ausentes en la literatura orientada a la niñez y juventud.

MULHERES NAS CENAS FINAIS DO EVANGELHO DE MARCOS: NARRATIVA, DISCURSO E TEOLOGIA

O artigo faz uma análise da presença das mulheres nas últimas cenas da vida, morte e ressurreição de Jesus, conforme narrado no Evangelho de Marcos. A partir da perícope 15,40-16,8 objetiva-se contribuir com a reconstrução da partici­pação e da importância das mulheres no movimento de Jesus e na organização de comunidades cristãs no século I, bem como evidenciar tentativas de silenciamento e invisibilização das mesmas. A pesquisa é bibliográfica, deseja-se apresentar uma metodologia exegética que faz uso conjunto de recursos da narratologia e da aná­lise do discurso na interface com hermenêuticas feministas. Esta pesquisa resulta na constatação de que as mulheres receberam uma autoridade ímpar no final do Evangelho de Marcos e que possivelmente eram parte da liderança da comunidade marcana. Teologicamente significativo é perceber que a motivação, a dedicação e a fidelidade na práxis de fé das mulheres baseiam-se na própria ação de Jesus Cristo, que para elas significou acolhida, cura, libertação e reconhecimento.

A audiodescrição de filmes de arte: um estudo sobre a recepção de <em>O grão</em>

Este artigo tem como objetivo apresentar os resultados de uma pesquisa que investigou a recepção de um grupo de pessoas com deficiência visual à versão audiodescrita do filme O Grão (2007). O filme conta a história de uma família no sertão nordestino, que sobrevive com dificuldades. Possui uma narrativa mais frouxa, com poucos diálogos, muitos planos fixos e tomadas contemplativas. Diante da constatação de que o filme de arte é um desafio até para quem enxerga, exibimos a audiodescrição de O Grão para quatro participantes, dos quais dois com deficiência visual total de nascença e dois com baixa visão. Utilizamos como instrumentos de pesquisa um questionário pré-coleta, o qual definiu o perfil dos participantes, um relato livre dos participantes, que investigou sua compreensão do filme, e um relato guiado, que tratou de questões voltadas para a avaliação dos elementos narratológicos do roteiro. Os resultados apontaram para a eficácia da audiodescrição na promoção de acessibilidade de pessoas com deficiência visual ao filme em questão.

Noble Death and Dynasty: A Popular Tradition from the Hasmonean Period in Josephus

The First Book of Maccabees ends its historical narrative with the murder of Simon at the hands of his son-in-law, Ptolemy. Flavius Josephus offers a more elaborate narrative of the same event. According to his account, Ptolemy took Simon’s wife and two of his sons as hostages and tormented them when John Hyrcanus besieged him in the fortress of Doq. Josephus praises Simon’s wife for taking a heroic stance and stresses her willingness to die for the dynasty. A close analysis of the story suggests that Josephus drew on a popular tradition that emerged shortly after the historical events and adopted stylistic and narratological elements commonly associated with martyrdom stories. The story thus offers insights into dynastic representation in the early Hasmonean period and indicates that the wife of Simon played a prominent role in the propaganda and self-fashioning of the new ruling house.

Learning to Think Otherness: Towards a Typology of World Views in Contemporary Basque Fiction

AbstractThis article outlines a typology of the various world views that can be observed in contemporary Basque novels, analysing the stance adopted by authors on fundamental philosophical questions such as the nature of reality or the limits of human knowledge. The criteria to establish the taxonomy are those of reason and telos, which have been central to the debates developed in the last third of the twentieth century around the project of modernity and the response given to it by postmodernism. Thus the proposed typology delineates an evolution in contemporary Basque novels from essentialist representations of reality to non-essentialist ones. With regard to other recent taxonomies that follow diverse narratological criteria, the contention is that a classification according to world views gathers in a more coherent and significant way the noticeable heterogeneity that characterizes the subject area. Also, the evolution towards non-essentialist world views pointed out here converges with the thesis that Basque literature has entered a postnational stage, but it also suggests that thematic criteria should be discarded when it comes to identifying the most representative works of that stage.ResumenEste artículo esboza una tipología de las diversas cosmovisiones que se manifiestan en la novela vasca contemporánea, analizando para ello la posición adoptada por los distintos autores ante cuestiones filosóficas fundamentales como la naturaleza de la realidad o los límites del conocimiento humano. Los criterios para establecer dicha taxonomía son los de razón y telos, centrales en los debates desarrollados durante el último tercio del siglo XX en torno al proyecto de la modernidad y la respuesta dada al mismo por parte del postmodernismo. La tipología aquí propuesta delinea así la evolución que en la novela vasca contemporánea debe observarse entre visiones esencialistas y no-esencialistas de la realidad. En relación con otras taxonomías recientes que atienden a criterios narratológicos heterogéneos, se argumenta que la clasificación en función de cosmovisiones permite recoger más coherente y significativamente la considerable diversidad que caracteriza al corpus objeto de estudio. Por otra parte, la evolución hacia modelos de realidad no-esencialistas aquí señalada confluye con la tesis de que la literatura vasca ha iniciado una fase postnacional y la confirma, pero invita también a descartar criterios temáticos a la hora de identificar las obras más representativas de dicha fase.

‘Acolytes of history’?

A nostalgic scenario, experienced on the holodeck in an episode of Star Trek: The Next Generation, is analysed. It is proposed that certain narratological elements, including the diegetically unusual self-reflexivity of the scenario, prevent the protagonist from fully engaging with an environment – a simulacrum of a 1950s jazz bar – beyond his real-life experiences. The verisimilitude of the scenario and the implications of certain shortcomings in this regard for the nature of the beholder’s experience are explored.