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Informationen zum Autor Ruth Page is a Reader in the School of English at Birmingham City University. She is the author of Literary and Linguistic Approaches to Feminist Narratology (Palgrave, 2006), and co-editor of New Narratives: Stories and Storytelling in the Digital Age (UNP, forthcoming). Klappentext This study investigates the richly diverse but integrated semiotic potential of storytelling. Unlike other interdisciplinary approaches to narrative studies which have privileged the study of words in storytelling, this unique collection provides a much needed analysis of how narrative operates using combinations of visual, typographic, aural, gestural and haptic resources. Although both multimodal theory and narrative studies have been invigorated by a variety of theoretical approaches, this volume seeks to avoid a single dominant paradigm. Instead, the contributors use literary criticism, linguistics and new media frameworks in a series of critical studies that are directly engaged with a range of multimodal stories. The contributors analyze works that include oral accounts of personal experience, opera, cartoons, print literature and new media forms of storytelling such as experimental digital fiction and fanfiction. Zusammenfassung The contributors in this collection question what kinds of relationships hold between narrative studies and the recently established field of multimodality, evaluate how we might develop an analytical vocabulary which recognizes that stories do not consist of words alone, and demonstrate the ways in which multimodality brings into fresh focus the embodied nature of narrative production and processing. Engaging with a spectrum of multimodal storytelling, from ‘low tech’ examples encompassing face-to-face stories, comic books, printed literature, through to opera, film adaptation and television documentary, stretching beyond to narratives that employ new media such as hypertext, performance art, and interactive museum guides, this volume examines the interplay of semiotic codes (visual, oral, aural, haptic, physiological) within each case under scrutiny, thereby exposing both points of commonality and difference in the range of multimodal narrative experiences. Inhaltsverzeichnis List of Figures and Tables Permissions Acknowledgments 1. Introduction, Ruth Page 2. Multimodal Storytelling: Performance and Inscription in the Narration of Art History, Fiona J. Doloughan 3. A Multimodal Approach to Mind Style: Semiotic Metaphor vs. Multimodal Conceptual Metaphor, Rocío Montoro 4. The Computer-based Analysis of Narrative and Multimodality, Andrew Salway 5. Opera: Forever and Always Multimodal, Michael Hutcheon and Linda Hutcheon 6. Word-Image/Utterance-Gesture: Case Studies in Multimodal Storytelling, David Herman 7. "I contain multitudes": Narrative Multimodality and the Book that Bleeds, Alison Gibbons 8. Multimodality and the Literary Text: Making Sense of Safran Foer’s Extremely Loud and Incredibly Close , Nina Nørgaard 9. Electronic Multimodal Narratives and Literary Form, Michael Toolan 10. Gains and Losses? Writing it All Down: Fanfiction and Multimodality, Bronwen Thomas 11. Respiratory Narrative: Multimodality and Cybernetic Corporeality in ‘Physio-Cybertext’, Astrid Ensslin 12. Cruising Along: Time in Ankerson and Sapnar, Jessica Laccetti 13. Beyond Multimedia, Narrative and Game: The Contributions of Multimodality and Polymorphic Fictions, Christy Dena 14. Keg Party Extreme and Conversation Party: Two Multimodal Interactive Narratives Developed for the SMALLab, Sarah Hatton, Melissa McGurgan and Xiang-Jun Wang 15. Coda/Prelude: 18 Questions for the Study of Narrative and Multimodality, David Herman & Ruth Page Notes on Contributors Index ...
