Victim/Victor: Stalking the Subject of Online Life Writing

Pulda, Molly

doi:10.1353/bio.2015.0018

bio

2015

DOI: 10.1353/bio.2015.0018

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Victim/Victor: Stalking the Subject of Online Life Writing

Molly Pulda¹

Abstract: This essay notes an intersection between extreme acts of online stalking and everyday acts of online identity construction: both are marked by repetition. I propose an “ethics of interruption” to address the relational stakes of constructing and consuming online lives, broadening the scope of what counts as an act of life writing.

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Cited by 3 publications

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“I Never Told My Story”: An Analysis of Stalking in Women’s Memoirs

Seethaler

2022

Contemporary Women's Writing

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One in six women and one in 19 men in the USA experience stalking. The vast majority of stalkers are men. Popular culture and media coverage tend to offer a distorted image of stalking or ignore it completely. Women who have survived a stalker are often victim-blamed and made to feel shame. In this context of doubting women, this article analyzes three women’s memoirs—Kate Brennan’s In His Sights (2008), Jane Jeong Trenka’s The Language of Blood (2003), and Belle Yang’s Forget Sorrow (2010)—that create awareness about stalking. My discussion suggests that women skillfully use memoir’s flexibility to portray the intersections of various forms of oppression that nourish stalking; their testimonies craft community among survivors, provide advice about how to negotiate a legal system that ignores women’s experiences, and promote empathy.

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“I Never Told My Story”: An Analysis of Stalking in Women’s Memoirs

Seethaler

2022

Contemporary Women's Writing

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Annual Bibliography of Works about Life Writing, 2014–2015

Wachter¹

2016

Biography

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Textual and Visual Correspondence Between the Novel and the Film: The Epistolary Narrative of Love, Simon

Çalışkan

2022

Selçuk İletişim

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Love, Simon (2018) is an American comedy-drama film directed by Greg Berlanti and based on Becky Albertalli's novel Simon vs. the Homo Sapiens Agenda (2015) about the email correspondence between Simon and another male student from his high school. Digital correspondence and Simon's voiceovers form the backbone of the storytelling. Comparing the book and the film, with a particular focus on the written form of communication and the narrator's inner voice, one can observe differences between the textual and visual forms, especially when considering the narrative line. This paper examines how the novel as a text centered on digital correspondence is transformed in the film adaptation. The paper aims to reveal how the role of the narrator changes from novel to film in the context of Plato's mimesis and diegesis. The similarities and differences between the use of text through the narrative line are analyzed within the scope of adaptation theory and poststructuralist textual analysis, and the transformation of mimetic and diegetic epistolary storytelling into diegetic and non-diegetic speeches, sounds and visuals in the film universe. As a result, it has been revealed that the film has mega-textual features in the context of adaptation and correspondence, that it has been adapted to the film without losing the characteristics of the story through intertextuality, that it stands at a point of transmission, that it successfully visualizes the anonymity in correspondence, and that it carries the plot and the identity of the characters to the visual dimension.

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Victim/Victor: Stalking the Subject of Online Life Writing

Cited by 3 publications

References 13 publications

“I Never Told My Story”: An Analysis of Stalking in Women’s Memoirs

“I Never Told My Story”: An Analysis of Stalking in Women’s Memoirs

Annual Bibliography of Works about Life Writing, 2014–2015

Textual and Visual Correspondence Between the Novel and the Film: The Epistolary Narrative of Love, Simon

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