Unnatural Voices: Extreme Narration in Modern and Contemporary Fiction (review)

Moraru, Christian

doi:10.1353/mfs.0.0019

Cited by 1 publication

(2 citation statements)

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“…Butor (1965) believed it to be practically non-existent in everyday communication apart from specific, extraordinary situations when addressees cannot tell their own story and it has to be narrated to them. This point of view was shared and elaborated on by Richardson (2006). Later research suggested that in real-life forms like self-talk or conversational storytelling (Mildorf 2012) fragmentary, short-term passages of second person are possible.…”

Section: Second Person In Fiction and Non-fictionmentioning

confidence: 92%

“…3 and no. 4, "Language and Literature", "Narrative", "Poetics Today") and has resulted in numerous substantial articles and monographs (Margolin 1990, Fludernik 1993Herman 1993, Richardson 2006, Kacandes 2001, DelConte 2003, Fludernik 2011, Macrea 2016, Illiopoulou 2019, Sorlin 2022. The interest has diminished again, however, before the beginning of the You Turn (Eilan 2016), which recently marked the domains of philosophy (of mind, of language, ethics and epistemology), social sciences, psychology and neuroscience.…”

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confidence: 99%

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Second person in different genres and cultural practices

2022

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The editorial introduction shows the richness of traditional literary genres (fictional and non-fictional), new cultural practices (digital literature, games, and playable media) in which second-person address may be encountered. The presence of a direct address to "you" (individual or collective) is also a distinct marker of contemporary marketing, advertising, and social media communication. There is a number of transitional forms in-between print and digital literature and games, in which the presence of the second-person pronoun is one of the main features of poetics. These include narrative role-playing games (RPGs), game books, interactive text games, and paragraph games/books. Complementing the existing gap in Polish interdisciplinary research, the editors discuss both the historical forms of second-person narrative and its potential to cross the boundaries between various media. Additionally, the article reconstructs the fuzzy status of you-narrative in 20th-century narrative theory, since the semantic ambiguities of the multifaceted "you" address resulted in multiple theoretical attempts at defying and analyzing the second-person storytelling. We summarize the main threads of the heated debate on the semantics, poetics, and pragmatics of second-person narrative that took place at the turn of the 20 th and 21 st centuries. The editorial discusses the reasons why narrative theory gradually recognized the typological equivalence of second-person storytelling to the third-and first-person narrative mode. Another recurring problem in research on second person is its impact on reader's immersion and identification processes. Moreover, we indicate the new cultural context (the digital revolution) as an important factor in the current dissemination and popularization of second-person narratives. second-person narrative, "you" address, narrative theory, game studies https://orcid.

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Section: Second Person In Fiction and Non-fictionmentioning

confidence: 92%

mentioning

confidence: 99%