Suchergebnisse

Abstract
Image narrative was long regarded as imitation of a story already told in word narrative rather than as direct imitation of real life. In the connection between imitation and medium, there are the phenomena of the medium's own position and "Anders-streben." The former emphasizes the medium following its own nature, and the latter means not only following its own nature but transcending itself to pursue another aesthetic effect. "Inter" in intermedia narrative goes beyond the nature or strengths of an artistic work and its medium, resulting in a narrative form that showcases the characteristics of other literary works or media rather than giving full play to its own strengths. Of course, the so-called "laws of imitation" outlined by French sociologist Tarde must be followed: (i) imitation from within to without and (ii) imitation of the superior by the inferior. Whether in the former or the latter, word is a more advantageous medium, since it serves more easily as the model for images or other media to imitate in lyric expression or narrative activities. The laws of imitation are the underlying cause why image, as a spatial narrative medium, manages to achieve the corresponding temporal effect by imitating word narrative.

Abstract
In the last few decades, the analytical scope of narrative studies has widened from a sole focus on "prototypical"
narratives of personal experience to a wide variety of narrative genres. However interesting this may be, there are also some
problems with these genres as there is not only sometimes considerable overlap between different genres, but
there are also differences within these genres. Furthermore, real-life stories often consist of a mix of various
genres, which makes applying genre-labels to these narratives problematic. Hence, instead of making such genre classifications, I
propose an abstract "Narrative Dimensions Model" to tease out the relevant characteristics of and differences between various
types of narratives. This model consists of two three-dimensional clusters, viz., one revolving around the narrator and containing
the dimensions of ownership, authorship and tellership, and one revolving around the narrated events, containing the dimensions of
frequency, time and evaluation. I illustrate this by a theoretical exploration of various narrative genres and I conclude by
sketching the advantages of conceptualizing and scrutinizing narratives by means of this model.

This paper explores the unity of theHadiqat al-haqiqeh, a medieval mystical didactic work composed by the twelfth-century Persian poet Sanāʾi. It provides one possible reading from the text by following the link between some of the major themes discussed in its chapters. By doing so, the paper first challenges the common view of the work as a fragmentary, non-narrative text, and second it draws attention to the synthesis of political ethics and Sufi didacticism as a possible starting point in the interpretation of the work. It also highlights the possibility—and necessity—of further scholarly inquiry into theHadiqeh, regardless of issues caused by its complex textual history.

The cultural history of German migration society is still unwritten, even though, since the 1960s, numerous interactions and aesthetic negotiations have taken place in literature, film, and in societal debates and theories that have driven the transformation of the political system. This volume opens up an unexpected perspective on informal relations and potentials that have so far received little attention.

This article is based on the presidential address delivered by Robert Zussman at the 2012 annual meetings of the Eastern Sociological Society.