The Logic Of Narratives

The Logic of Narratives is a linguistic study of narrative discourse that contextualizes the logical aspect of narratives. The book provides Discourse Representation Theory (DRT) formalization (Kamp and Reyle, 1993) of naturally occurring narrative data from corpus and literary works.

Featuring a major synthesis and critique of interdisciplinary narrative theory, Story Logic marks a watershed moment in the study of narrative. David Herman argues that narrativeøis simultaneously a cognitive style, a discourse genre, and a resource for writing. Because stories are strategies that help humans make sense of their world, narratives not only have a logic but also are a logic in their own right, providing an irreplaceable resource for structuring and comprehending experience. Story Logic brings together and pointedly examines key concepts of narrative in literary criticism, linguistics, and cognitive science, supplementing them with a battery of additional concepts that enable many different kinds of narratives to be analyzed and understood. By thoroughly tracing and synthesizing the development of different strands of narrative theory and provocatively critiquing what narratives are and how they work, Story Logic provides a powerful interpretive tool kit that broadens the applicability of narrative theory to more complex forms of stories, however and wherever they appear. Story Logic offers a fresh and incisive way to appreciate more fully the power and significance of narratives.

Arthur L. Stinchcombe has earned a reputation as a leading practitioner of methodology in sociology and related disciplines. Throughout his distinguished career he has championed the idea that to be an effective sociologist, one must use many methods. This incisive work introduces students to the logic of those methods. The Logic of Social Research orients students to a set of logical problems that all methods must address to study social causation. Almost all sociological theory asserts that some social conditions produce other social conditions, but the theoretical links between causes and effects are not easily supported by observation. Observations cannot directly show causation, but they can reject or support causal theories with different degrees of credibility. As a result, sociologists have created four main types of methods that Stinchcombe terms quantitative, historical, ethnographic, and experimental to support their theories. Each method has value, and each has its uses for different research purposes. Accessible and astute, The Logic of Social Research offers an image of what sociology is, what it's all about, and what the craft of the sociologist consists of.

In the author's point of view, a black swan is an improbable event with three principal characteristics - It is unpredictable; it carries a massive impact; and, after the fact, we concoct an explanation that makes it appear less random, and more predictable, than it was. Why do we not acknowledge the phenomenon of black swans until after they occur? Part of the answer, according to Taleb, is that humans are hardwired to learn specifics when they should be focused on generalities. We concentrate on things we already know and time and time again fail to take into consideration what we don't know. We are, therefore, unable to truly estimate opportunities, too vulnerable to the impulse to simplify, narrate, and categorize, and not open enough to rewarding those who can imagine the 'impossible'.

A book which should appeal to both literary theorists and to readers of the novel, this study invites the reader to consider how the plot reflects the patterns of human destiny and seeks to impose a new meaning on life.

Janice Schuetz investigates the felony trials of nine American women from colonial Salem to the present: Rebecca Nurse, tried for witchcraft in 1692; Mary E. Surratt, tried in 1865 for assisting John Wilkes Booth in the assassination of Abraham Lincoln; Lizzie Andrew Borden, tried in 1892 for the ax murder of her father and stepmother; Margaret Sanger, tried in 1915, 1917, and 1929 for her actions in support of birth control; Ethel Rosenberg, tried in 1951 for aiding the disclosure of secrets of the atom bomb to the Soviets; Yvonne Wanrow, tried in 1974 for killing a man who molested her neighbor's daughter; Patricia Campbell Hearst, tried in 1975 for bank robbery as a member of the Symbionese Liberation Army; Jean Harris, tried in 1982 for killing Herman Tarnower, the Diet Doctor; and Darci Kayleen Pierce, tried in 1988 for kidnapping and brutally murdering a pregnant woman, then removing the baby from the woman's womb. In her analysis, Schuetz is careful to define these trials as popular trials. Characteristically, popular trials involve persons, issues, or crimes of social interest that attract extensive public interest and involvement. Such trials make a contribution to the ongoing historical dialogue about the meaning of justice and the legal system, while reflecting the values of the time and place in which they occur. Schuetz examines the kinds of communication that transpired and the importance of gender in the trials by applying a different current rhetorical theory to each trial text. In every chapter, she explains her chosen interpretive theory, compares that framework with the discourse of the trial, and makes judgments about the meaning of the trial texts based on the interpretive theory.

What is the philosophical voice within literature? Does literature have a voice of its own? Can this voice really be philosophical in its own right? In this book, Michael Boylan argues that some literary works indeed can make their own unique claims in different areas of philosophy. He calls this method fictive narrative philosophy. The first part of the book presents an overview of traditional thinking about philosophy and literature across classical, modern, and contemporary periods. It does not seek to denigrate these methods of studying literature, but rather to ask more of them. The second part then sets out a rigorous definition of what constitutes fictive narrative philosophy. This definition outlines detailed conceptions of the methods of presentation, audience engagement, logical mechanics, and constructional devices of fictive narrative philosophy. The author brings this definition to bear on individual authors and works that can be considered prime examples of fictive narrative philosophy. Finally, the book sets out why and when fictive narratives might be more favorable than traditional philosophical discourse, and how the concept of fictive narrative philosophy can move teaching and scholarship forward in a positive direction. Fictive Narrative Philosophy presents an entirely new and unique approach in which literature can be a form of philosophy. It will appeal to scholars and upper-level students interested in philosophy and literature.

From mainstream blockbusters to art house cinema, narrative and narration are the driving forces that organize a film. Yet attempts to explain these forces are often mired in notoriously complex terminology and dense theory. Warren Buckland provides a clear and accessible introduction that explains how narrative and narration work using straightforward language. Narrative and Narration distills the basic components of cinematic storytelling into a set of core concepts: narrative structure, processes of narration, and narrative agents. The book opens with a discussion of the emergence of narrative and narration in early cinema and proceeds to illustrate key ideas through numerous case studies. Each chapter guides readers through different methods that they can use to analyze cinematic storytelling. Buckland also discusses how departures from traditional modes, such as feminist narratives, art cinema, and unreliable narrators, can complicate and corroborate the book’s understanding of narrative and narration. Examples include mainstream films, both classic and contemporary; art house films of every stripe; and two relatively new styles of cinematic storytelling: the puzzle film and those driven by a narrative logic derived from video games. Narrative and Narration is a concise introduction that provides readers with fundamental tools to understand cinematic storytelling.