By Jan Christoph Meister, Alastair Matthews
Computing motion takes a brand new method of the phenomenon of narrated motion in literary texts. It starts with a survey of philosophical ways to the concept that of motion, starting from analytical to transcendental and at last constructivist definitions. This results in the formula of a brand new version of motion, during which the center definitions built in conventional structuralist narratology and Greimassian semiotics are reconceptualised within the gentle of constructivist theories. within the moment a part of the research, the combinatory version of motion proposed is placed into perform within the context of a computer-aided research of the motion constructs logically implied by means of narrative texts. specialized literary computing instruments have been constructed for the needs of this research of textual information: EVENTPARSER, an interactive software for parsing occasions in literary texts, and EPITEST, a device for subjecting the mark-up documents therefore produced to a combinatory research of the episode and motion constructs they include. The 3rd a part of the e-book provides a case research of Goethe's Unterhaltungen deutscher Ausgewanderten. right here, the sensible software of concept and technique finally ends up in a brand new interpretation of Goethe's well-known Novellenzyklus as a scientific test within the narrative development of motion - an scan meant to illustrate not just Goethe's aesthetic rules, but in addition, and extra essentially, his epistemological convictions.
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Extra info for Computing Action: A Narratological Approach (Narratologia - Volume 2)
Sample text
I can therefore enjoy the privilege of having the first word, which, as a consequence of the temporal and logical distance between the acts of production and reception, is counterbalanced by the normative final say, the source of the reader’s ultimate power. And so it is neither the book nor the text that acts; it is rather you and I that interact in, with, and about it by exchanging words, sentences, arguments, reservations, and mental images across the logical and chronological hiatus without which the semiotic system cannot function.
By this I mean a theory that deals not only with the complexity of the phenomenon as a project and construct but also with the importance of the virtual domain, that is, the domain of activities and actions which consists of positive choices and their unrealized alternatives. The phenomenon of literary action can no longer be described from a purely positivist perspective but should be modelled as an object best approached by more differentiated means. The virtual domain is, however, also the domain of vast numbers: it is comprised of an enormous set of theoretically conceivable variants of activities and actions, the size of which is practically impossible to grasp.
The opposite of the virtual is rather the antimodel of the possible world, that is to say, a model whose logical and rhetorical ontology defines what never will, can, or could be possible. The theoretical distinctions between the concepts of the virtual and the real and between the concepts of the real and the impossible do not present any considerable difficulties. However, the practical application of these distinctions to narrative and aesthetic subject matter is somewhat more challenging, for here the concepts form a continuum instead of contrasting clearly with one another.