This collection of essays looks at two important manifestations of postclassical narratology, namely transmedial narratology on the one hand, and unnatural narratology on the other. The articles deal with films, graphic novels, computer games, web series, the performing arts, journalism, reality games, music, musicals, and the representation of impossibilities. The essays demonstrate how new media and genres as well as unnatural narratives challenge classical forms of narration in ways that call for the development of analytical tools and modelling systems that move beyond classical structuralist narratology. The articles thus contribute to the further development of both transmedial and unnatural narrative theory, two of the most important manifestations of postclassical narratology.

This collection of essays looks at two important manifestations of postclassical narratology, namely transmedial narratology on the one hand, and unnatural narratology on the other. The articles deal with films, graphic novels, computer games, web series, the performing arts, journalism, reality games, music, musicals, and the representation of impossibilities. The essays demonstrate how new media and genres as well as unnatural narratives challenge classical forms of narration in ways that call for the development of analytical tools and modelling systems that move beyond classical structuralist narratology. The articles thus contribute to the further development of both transmedial and unnatural narrative theory, two of the most important manifestations of postclassical narratology.

The distinction between author and narrator is one of the cornerstones of narrative theory. In the past two decades, however, scope, implications and consequences of this distinction have become the subjects of debate. This volume offers contributions to these debates from different vantage points: literary studies, linguistics, philosophy, and media studies. It thus manifests the status of narrative theory as a transdisciplinary project.

A guide to using Microsoft PowerPoint describes how to use stories to create effective business presentations.

This book comprises papers from the inaugural conference of the Irish Postgraduate Film Research Seminar which was held in Trinity College, April 2003. The purpose of the annual seminar is to provide an environment for postgraduate researchers in film to come together to exchange ideas and discuss methodological issues.

A magazine of radical film criticism & theory.

What do we mean when we talk about "God?" Does this term actually refer to anything in our experience? This book opens up significant new approaches to one of the most important problems confronting theology and the philosophy of religion, namely, the problem of "God-language." Current philosophical concerns over language have intensified the difficulty of talking about God: The necessity of formally proving the "meaningfulness" of statements about God has led to theological dead ends on the one hand and a retreat to mysticism or irrationality on the other. This book moves the discussion of God-language to a new plane, arguing that God-language cannnot be understood within a traditional "theistic" framework. Instead, a "grammar" of God-language must be identified, and in doing this Jennings reaches a fresh view of language, one that is applicable to all religions and all human experience--the religious as well as the secular.

Rimmon-Kenan (Hebrew U.-Jerusalem) asserts that responsible talk about representation and subjectivity is possible despite the poststructuralist destabilization of the concepts. She explains how by looking at 20th-century narratives that have taken the concepts as their themes, in particular Faulkner's Absalom, Nabokov's The Real Life of Sebastian Knight, Brooke-Rose's Thru, Beckett's Company, and Morrison's Beloved. Annotation copyright by Book News, Inc., Portland, OR