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The concept of time is deeply rooted within the field of literature; not only does it present itself in literary works in the form of theme or symbol. It can also be viewed in the reflection of the time in which the piece was written; but, most importantly in the context of this paper, it plays an essential and indispensable role as a plot device when constructing the narration. The modification of these expressions of time varies in accordance with the author's views and purposes for their literary work. Thus, instances of toying with the base structure of time flow occur. This paper aims to display the employment of time reordering as a plot device in order to conclude whether this manner of writing was beneficial to the works in which it is depicted. This analysis will take into consideration a variety of advantages that time reordering could provide, from adding a sense of mystery, chaos, or irony, to much more intricate plot, structure or even subtext benefits. To be able to encounter all of the mentioned benefits, this paper will discuss a selected number of fictional literary works from the Gothic-like historical novel Hawksmoor by Peter Ackroyd to the contemporary novel The Stone Gods by Jeanette Winterson. The term of time reordering within this paper will refer to the abandonment of a linear plot line and the approach of multiple timelines or a hazardous presentation of events.

"This edited collection contributes to the study of conspiracy culture by analysing the relationship of literary forms to the formation, reception, and transformation of conspiracy theories. Conspiracy theories are narratives, and their narrative form provides the structure within which their 'readers' situate themselves when interpreting the world and its history. At the same time, conspiracist interpretations of the world may then be transmediated into works of literature and import popular discourse into narrative structures. The suppression and disappearance of books themselves may generate conspiracy theories and become co-opted into political dissent. Additionally, literary criticism itself is shown to adopt conspiracist modes of interpretation. By examining conspiracy plots as literary plots, with narrative, rhetorical, and symbolic characteristics, this volume is the first systematic study of how conspiracy culture in American and European history is the consequence of its interactions with literature. This book will be of great interest to researchers of conspiracy theories, literature, and literary criticism"--

What can quantitative methods tell us about literary plots? Franco Moretti maps character networks from Shakespeare, Dickens and Cao Xueqin to shed light on questions of sovereignty, legitimacy and the reciprocity of social relations. Adapted from the source document.

Referring to the memoirs of Dmitry Grigorovich, this article considers the general principles of axiology and plot of the memoir text. A contemporary of Leo Tolstoy and Fyodor Dostoevsky, Grigorovich became the "last chronicler" of the era of the 1840s. In this article, the author attempts to read Literary Memoirs as a work of fiction (novel), establishing typological connections between everyday sketches and essay-like sketches and plot situations that have a literary genesis. First, the author examines the phenomenon of Dmitry Grigorovich's creative work in the axiology aspects. It is demonstrated that the symbolic capital of the writer's name, despite the authority and significance of some of his works, was lost by the end of the nineteenth century. In this regard, the main intention of "literary recollections" is understood as an attempt to correct the past (represented by the narratives of Ivan Panaev, Avdotya Panaeva, and Pavel Annenkov), having experienced it in the present, i.e., through writing and auto-description. The main part of the article is devoted to the interpretation of plot models of memoirs and the principles of selection of historical figures. Often this selection itself (the choice of a publicist or a memoirist, what to write about and what to keep silent about) contains significant resources for auto-commentary. For example, in the description of childhood experience, referring the reader to the novels of Charles Dickens, Gustave Flaubert, and John Greenwood, one can trace "heraldic" features that frame the writer's experience. Particular attention is paid to the figures central to the memoirs — Fyodor Dostoevsky and Alexander Dumas, embodying the specific features of the national writer and genius, with an individual portrait of Grigorovich himself built between them.

Frontmatter -- Contents -- Introduction -- 1. Is There a Chastity Plot? -- 2. Virginity and Terror: Reading Hippolytus -- 3. Marriage and Mayhem -- 4. The Dangerous Mystique of Continence -- 5. The Pure and the Impure: Pastoral and the Reversal of Nature -- 6. A Virgin Enthroned: Power, Performance, and Poetry in the English Renaissance -- 7. The Virgin's Fall -- 8. Losing the Plot: The Politics and Poetry of Modern Virginity -- Notes -- Acknowledgments -- Index

The article aims mostly to define terminologically the lyrical situation as one of the main components of the lyrical plot. To achieve the intent, the article addresses the following objectives. First, analyzing the earlier writings on the subject, from "Aesthetics" by Hegel to modern works on the plotology and poetics of lyricism (B.V. Tomashevsky, V.M. Zhirmunsky, L.Ya. Ginzburg, T.I. Silman, Yu. Lotman, V. Grechnev, V.I. Tiupa, N.D. Tamarchenko and others). Secondly, formulating our own definition of the lyrical situation as a static state of the inner world of a lyric verse. Third, showing the relationship of the situation with other important components of the lyrical plot. It is a spatiotemporal structure, which largely determines the lyrical situation, as well as the category of event, which is connected (or opposed) to the situation on the principle of dynamics / statics. Fourth, proving the correlation between the lyrical situation and the title of the poem. Finally, conclusions are drawn about the place of the lyrical situation in the lyrical plot of the poem, understood as a system of event-situational elements of the lyrical work, given from the position of the lyrical subject in the process of his reflection deployment.

Front Matter -- Contents -- Editors' Introduction -- Theories of Policing in Literature and Literary Criticism -- After Theory: Politics against the Police? /Vladimir Biti -- Theory Policing Reading or the Critic as Cop: Revisiting Said's The World, the Text, and the Critic /Reingard Nethersole -- Le cercle carré: On Spying and Reading /Călin-Andrei Mihăilescu -- Case Studies -- Dear Leader! Big Brother!: On Transparency and Emotional Policing /Sowon S. Park -- The Charisma of Theory /Marko Juvan -- Within or beyond Policing Norms: Yuri Lotman's Theory of Theatricality /Kyohei Norimatsu -- The Oppressive and the Subversive Sides of Theoretical Discourse /Péter Hajdu -- Policing Literary Theory across the World -- Roman Nikolayevich Kim and the Strange Plots of His Mystery Novellas /Norio Sakanaka -- Kafka, Snowden, and the Surveillance State /John Zilcosky -- The Genetics of Morality: Policing Science in Dudintsev's White Robes /Yvonne Howell -- In Lieu of a Conclusion: Policing as a Form of Epistemology – Three Narratives of the Japanese Empire /Takayuki Yokota-Murakami.

In this original and timely assessment of cultural expressions of paranoia in contemporary Russia, Eliot Borenstein samples popular fiction, movies, television shows, public political pronouncements, internet discussions, blogs, and religious tracts to build a sense of the deep historical and cultural roots of konspirologiia that run through Russian life. Plots against Russia reveals through dramatic and exciting storytelling that conspiracy and melodrama are entirely equal-opportunity in modern Russia, manifesting themselves among both pro-Putin elites and his political opposition. As Borenstein shows, this paranoid fantasy until recently characterized only the marginal and the irrelevant. Now, through its embodiment in pop culture, the expressions of a conspiratorial worldview are seen everywhere. Plots against Russia is an important contribution to the fields of Russian literary and cultural studies from one of its preeminent voices

The classification of epic plots proposed by the Pudoga bylina narrator F.A. Konashkov still remains largely undefined in scholarly literature, though its analysis is important for historical functional appreciation of the Russian epic folklore. According to A.M. Linevskii, F.A. Konashkov selected his bylinas taking into account the gender-and-age, family, professional, and social status of his listeners (i.e., there are bylinas for young people, married couples, the military, the Heads, the merchants, etc.) and that principle, however plain in some aspects, implies a special understanding by the bylina narrator of his repertoire. Since it is inconceivable that the bylinas being intended for one class of listeners turned out to be – in terms of their language or composition – difficult for another, it seems only logical to conclude that the division in question is based on a certain extra-aesthetic principle. As shown by a comparative axiological analysis of each bylina group, all epic songs here are united by a similar didactic moral intent, an affirmation of comparable spiritual values and, consequently, a denial of categories and notions opposed to them. Therefore, F.A. Konashkov's classification indicates those spiritual therapeutic tasks that could challenge Russian bylina narrators in a situation of the oral text's "natural" existence – and, accordingly, can be applied to the whole corpus of national epic folklore.

This article examines the importance of the working country garden to the memorial narratives of Ford Madox Ford. It begins with a study of Ford before the Great War; considering how his particular brand of Literary Impressionism was frequently used to make a case for memorializing the rural poor and their surrounding landscape from The Heart of the Country (1906) to The Fifth Queen saga (1906–08). Moving to Post-War Sussex and Kent, it examines Ford's continuing interest in the country garden and rural community, reading his gardening practices as attempted personal reconstruction through faith in landscape production. As Ford moves from small-holding to small-holding, and eventually away for good, it discusses how the narratives of his part-fictive biographies, including Thus to Revisit (1921) and It was the Nightingale (1934), repeatedly return to rural England to resituate the developments of Literary Impressionism – and Ford's most formative literary friendships – in and about the garden. The repetitions of garden work; of sowing, weeding, and digging over plots, proved essential to Ford's in-text ritualisations of rural life and literary innovation alike.

Art opportunities of the ballad, the genre of the Western European literature which was widely spread in the romanticism era, become demanded in the XX-XXI centuries literature including in modern Tatar literature in which a specific place was always held by liro-epic works. The novelty of the conducted research is determined by the fact that ballad is considered as one of the genres reflecting essential feature of poetics of lyrical works of the Tatar poet Zulfat (Malikov Dulfat Usmanovich) – their narrativity. A number of the poems of Zulfat having author's designation of a genre "ballad" or reproducing traditional ballad plots and also representing different theme groups (historical, military, love ballads) became a subject of the analysis. It is established that this art form functions in the poet's works as a special way of expression of existential situations of human life. The received results matter for the characteristic of tendencies and regularities of historico-literary process of the end of the XX – the beginning of the XXI centuries, determination of specifics of national art thinking.