Narrative and freedom: the shadows of time
Drawing on works by the Russian writers Dostoevsky, Tolstoy, and Chekhov, by other writers as diverse as Sophocles, Cervantes, and George Eliot, by thinkers as varied as William James, Mikhail Bakhtin, and Stephen Jay Gould, and from philosophy, the Bible, television, and much more, Gary Saul Morson...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New Haven u.a.
Yale Univ. Press
1994
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | Drawing on works by the Russian writers Dostoevsky, Tolstoy, and Chekhov, by other writers as diverse as Sophocles, Cervantes, and George Eliot, by thinkers as varied as William James, Mikhail Bakhtin, and Stephen Jay Gould, and from philosophy, the Bible, television, and much more, Gary Saul Morson examines the relation of time to narrative form and to an ethical dimension of the literary experience Morson asserts that the way we think about the world and narrate events is often in contradiction to the truly eventful and open nature of daily life. Literature, history, and the sciences frequently present experience as if contingency, chance, and the possibility of diverse futures were all illusory. As a result, people draw conclusions or accept ideologies without sufficiently examining their consequences or alternatives. However, says Morson, there is another way to read and construct texts. He explains that most narratives are developed through foreshadowing and "backshadowing" (foreshadowing ascribed after the fact), which tend to reduce the multiplicity of possibilities in each moment. But other literary works try to convey temporal openness through a device he calls "sideshadowing." Sideshadowing suggests that to understand an event is to grasp what else might have happened |
| Beschreibung: | XIV, 331 S. |
| ISBN: | 0300058829 |
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| 520 | |a Morson asserts that the way we think about the world and narrate events is often in contradiction to the truly eventful and open nature of daily life. Literature, history, and the sciences frequently present experience as if contingency, chance, and the possibility of diverse futures were all illusory. As a result, people draw conclusions or accept ideologies without sufficiently examining their consequences or alternatives. However, says Morson, there is another way to read and construct texts. He explains that most narratives are developed through foreshadowing and "backshadowing" (foreshadowing ascribed after the fact), which tend to reduce the multiplicity of possibilities in each moment. But other literary works try to convey temporal openness through a device he calls "sideshadowing." Sideshadowing suggests that to understand an event is to grasp what else might have happened | ||
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Datensatz im Suchindex
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| adam_text | Contents
Acknowledgments xi
Note on Punctuation xii
Abbreviations xiii
Introduction 1
Part I: The Shape of Narrative and the Shape of Experience
Chapter One. Prelude: Process and Product 17
Time out, 17. Eventness, 20. Creative process, 23. The pun of creativity, 27.
Temporal vacuum, 30. Logarithms and sea battles, 33. Double determination,
36. Narrative isomorphism and anisomorphism, 38. Escape from structure, 40.
Chapter Two. Foreshadowing 42
The essential surplus, 43. Foreshadowing, 45. The gathering storm, 47. The
future that has happened, 50. Prophetic history, 53. Types of the socialist
future, 54. The art of the known future, 57. Oedipus the King, 58. Omens, 61.
Destiny and determinism, 63. Exemption from inevitability, 66. The Fatalist,
67. Eluctable destiny, 69. Anna Karemna s omens: Narcissism and stories, 71.
Anna: Who is to blame?, 74. Anna: Omens and their causes, 75. Anna: Loose
ends, 77. The surplus against itself, 79.
Chapter Three. Interlude: Bakhtin s Indeterminism 82
The Dilemma of Determinism : Time s loose play, 82. Novels as forms of
thought, 86. The lateness of the author, 88. Bakhtin s second stage: Charac
ters break free, 91. The heteroverse, 94. God subjected to time, 95. Creating
freedom by provocation and torture, 97. Strange synchronies, 100. Bakhtin s
vn
third stage: Wisdom of the chronotope, 105. Real historical time, 107. Time
in the historical novel, 110. Many realities, and the surplus of humanness, 112.
Part II: Sideshadowing and Its Possibilities
Chapter Four. Sideshadowing 117
The possibility of possibility, and the middle realm, 117. Time as a field, 119. The
extraordinary number of facts, if only they are facts, 120. Rumor as hero, 123.
The workers rebel, or do they?, 124. Twice Possessed, 126. Gaps in the text, 129.
The past as an indistinct abstraction, 132. Pseudo foreshadowing, 134. Kara
mazov: Both versions were true, 137. Karamazov: Responsibility and the
middle realm, 139. Kairova time and processual intentionality, 142. The devil s
Potentials: The coordinates of the other world, 146. The hunger for possibili¬
ties, 148. Paraquels and parodies, 151. Resurrections, 153. Tolstoy and contin
gency, 155. Aesthetic potentiality, 158. Vortex time, 162. The end of time, 165.
After the vortex, 167. Aperture, 169.
Chapter Five. Paralude: Presentness and Its Diseases 173
Sports time, 173. Sports time: Synchronizing public and private, 175. Longing
for the present, 177. Genre painting and memory, 180. Prosaics and the pre¬
sentness of the past, 183. Present and sequence. The happiest moment and four
diseases of presentness, 187. Disease #1, the desiccated present. Epic time and
epilogue time, 189. Disease #1, the desiccated present. Epilogue time and the
generations, 193. Disease #1, the desiccated present. Eschatology and utopia,
198. Disease #2, the isolated present, 201. Disease #2, the isolated present.
Gambling with history, 203. Disease #2, the isolated present. The mutable past,
206. Disease #2, the isolated present. The dialogue of times, and a stränge catas
trophism, 210. Disease #2, the isolated present. Commemoration, 212. Disease
#3, hypothetical time. Edited life, 214. Disease #3, hypothetical time. The im
purity of freedom, 222. Disease #3, hypothetical time. Crime and chronicity,
224. Disease #4, Multiple time. The garden of forking paths, 227. Disease #4,
multiple time. Multiple universe determinism, 232.
Chapter Six. Backshadowing 234
Backshadowing defined and characterized, 234. He should have known :
Premises of backshadowing, 235. Retrospection and reciprocity, 238. Whig
gism, 241. Time line: The progressive, 244. Arthropodic whiggism: Wonder
ful life, 245. Two fallacies: Hyperselectionism and inferring history from cur
rent Utility, 249. Three principles: Anthropic, misamhropic, and brassicic, 251.
Looking backward, 255. The single truth and society as artwork, 257. Time and
opinion, 260. Vagrant philosophy and the Script of time, 262.
Conclusion
Chapter Seven. Opinion and the World of Possibilities 267
Crooked timber, 267. Dialogue and final Solutions, 271. The church of Phila¬
delphia, 273. Epilogue . . . , 278. ... and beyond, 280.
Notes 283
Index 309
|
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| spelling | Morson, Gary Saul 1948- Verfasser (DE-588)122594142 aut Narrative and freedom the shadows of time Gary Saul Morson New Haven u.a. Yale Univ. Press 1994 XIV, 331 S. txt rdacontent n rdamedia nc rdacarrier Drawing on works by the Russian writers Dostoevsky, Tolstoy, and Chekhov, by other writers as diverse as Sophocles, Cervantes, and George Eliot, by thinkers as varied as William James, Mikhail Bakhtin, and Stephen Jay Gould, and from philosophy, the Bible, television, and much more, Gary Saul Morson examines the relation of time to narrative form and to an ethical dimension of the literary experience Morson asserts that the way we think about the world and narrate events is often in contradiction to the truly eventful and open nature of daily life. Literature, history, and the sciences frequently present experience as if contingency, chance, and the possibility of diverse futures were all illusory. As a result, people draw conclusions or accept ideologies without sufficiently examining their consequences or alternatives. However, says Morson, there is another way to read and construct texts. He explains that most narratives are developed through foreshadowing and "backshadowing" (foreshadowing ascribed after the fact), which tend to reduce the multiplicity of possibilities in each moment. But other literary works try to convey temporal openness through a device he calls "sideshadowing." Sideshadowing suggests that to understand an event is to grasp what else might have happened Tijd gtt Verteltheorie gtt Literatur Literature History and criticism Narration (Rhetoric) Slavic literature History and criticism Time in literature Erzähltheorie (DE-588)4152975-3 gnd rswk-swf Literatur (DE-588)4035964-5 gnd rswk-swf Zeit (DE-588)4067461-7 gnd rswk-swf Russisch (DE-588)4051038-4 gnd rswk-swf Erzähltechnik (DE-588)4124854-5 gnd rswk-swf Erzähltheorie (DE-588)4152975-3 s Zeit (DE-588)4067461-7 s DE-604 Russisch (DE-588)4051038-4 s Literatur (DE-588)4035964-5 s Erzähltechnik (DE-588)4124854-5 s HBZ Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=006684552&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
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| title | Narrative and freedom the shadows of time |
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