Beginning is the hardest ITPment, not because openers are all that scarce but because you're blowing into, cracking a universe. l Maurice Natanson q;>enings are already directed toward closings. The first question in presenting a body of work is where to cut in. This is an especially difficult question since the cut-in provides a perspecti ve on what follows. A cut is an angle of entry. Wherever I enter, from there, a realm unfolds itself. In that sense, my angle of entry is my point of view. A realm cut into has an orientation. It evidences a hierarchy of importance, relevance, accessability, value, or logic. Its content is no longer neutral and equivalent. From my perspective, the realm is not only differentiated in sUbstance but differential in significance. There is a relation between angles and attitudes. Where I look from is tied up with how I see. The first cut opens out into a frame of reference. What count as lines of evidence in that realm materialize along with its background expectancies, its assumptions, concentrations, and confusions, its coslTPlogy, quirks, and enchantments. Hence, once I am corrunitted to a perspective, I am implicated in a methodology, one possessed of puzzles of a certain shape, ITPving toward solutions wi thin its orthodoxy. Openings are directed toward closings. Another cut would open onto another realm. The realm of events I cut into is a Taleworld, inhabited by characters acting in their own space and time.

In this volume, Soe Marlar Lwin proposes a contextualized multimodal framework that brings together storytelling practitioners’ and academic researchers’ conceptions of storytelling. It aims to highlight the ways in which various institutions in contemporary society have been using live storytelling performances as an effective communicative, educative and meaning-making tool. Drawing on theories of narrative from narratology as well as from related fields such as discourse analysis, multimodal analysis, communication and performance studies, the author proposes a contextualized multimodal framework to (a) uncover the potential narrativity of a live storytelling performance through an analysis of narrative elements constituting the story, (b) capture the process of developing actual narrativity through a multimodal analysis of performance features in the storytelling discourse, and (c) highlight the importance of context and dynamics between the storyteller and audience for an achievement of optimal narrativity in a particular storytelling event. The sample analysis shows how the framework not only describes the system governing institutionalized storytelling performances in general but also serves as a useful model to examine individual performance as a unique realization of the general system. The book also offers implications for possible applications of such contextualized multimodal frameworks more broadly across the disciplines.

In this study, I examine the life narrative of a female factory labourer, Elsa Koskinen (née Kiikkala, born in 1927). I analyze her account of her experiences related to work, class and gender because I seek to gain a better understanding of how changes in these aspects of life influenced the ways in which she saw her own worth at the time of the interviews and how she constructed her subjectivity. Elsa’s life touches upon many of the core aspects of 20th-century social change: changes in women’s roles, the entrance of middle- class women into working life, women’s increasing participation in the public sphere, feminist movements, upward social mobility, the expansion of the middle class, the growth of welfare and the appearance of new technologies. What kind of trajectory did Elsa take in her life? What are the key narratives of her life? How does her narrative negotiate the shifting cultural ideals of the 20th century?A life story, a retrospective evaluation of a life lived, is one means of constructing continuity and dealing with the changes that have affected one’s life, identity and subjectivity. In narrating one’s life, the narrator produces many different versions of her/him self in relation to other people and to the world. These dialogic selves and their relations to others may manifest internal contradictions. Contradictions may also occur in relation to other narratives and normative discourses. Both of these levels, subjective meaning making and the negotiation of social ideals and collective norms, are embedded in life narratives. My interest in this study is in the ways in which gender and class intersect with paid labour in the life of an ordinary female factory worker. I approach gender, class and work from both an experiential and a relational perspective, considering the power of social relationships and subject formations that shape individual life at the micro-level. In her narratives Elsa discusses ambivalence related to gendered ideals, social class, and especially the phenomenon of social climbing as well as technological advance. I approach Elsa’s life and narratives ethnographically. The research material was acquired in a long-standing interview process and the analysis is based on reflexivity of the dialogic knowledge production and contextualization of Elsa’s experiences. In other words I analyze Elsa’s narratives in their situational but also socio-cultural and historical contexts. Specific episodes in one’s life and other significant events constitute smaller narrative entities, which I call micro-narratives. The analysis of micro-narratives, key dialogues and cultural ideals embedded in the interview dialogues offers perspectives on experiences of social change and the narrator’s sense of self.

This collection brings together several perspectives on language varieties defined according to their contexts of use--what are variously called registers, sublanguages, or genres. The volume highlights the importance of these central linguistic phenomena; it includes empirical analyses and linguistic descriptions, as well as explanations for existing patterns of variation and proposals for theoretical frameworks. The book treats languages in obsolescence and in their youth; it examines registers from languages from around the globe; and it offers several of the most complete studies of registers and register variation published to date, adopting both synchronic and diachronic perspectives.

Theorizing Narrativity is a collective work by an international array of leading specialists in narrative theory. It provides new perspectives on the nature of narrative, genre theory, narrative semiotics and communication theory. Most contributions center on the specificity of literary fiction, but each chapter investigates a different dimension of narrativity with many issues dealt with in innovative ways (including oral storytelling, the law, video games, causality, intertextuality and the theory of reading). There are chapters by Gerald Prince on narrativehood and narrativity, Meir Sternberg on the narrativity of the law-code, Werner Wolf on chance and Peter Hühn on eventfulness in fiction, Jukka Tyrkkö on kaleidoscope narratives, Marie-Laure Ryan on transfictionality and computer games, Ansgar Nünning and Roy Sommer as well as Monika Fludernik on the narrativity of drama, Beatriz Penas on (non)standard narrativities, David Rudrum on narrativity and performativity, Michael Toolan on textual guidance, John Pier on causality and retrospection, and José Ángel García Landa on retelling and represented narrations.

Scholars of fairy-tale studies will enjoy Bacchilega's significant new study of contemporary adaptations.

Application of analytic discourse techniques to clinical practice is relatively recent. This book's contributors begin with the notion that systematic examination of discourse provides a rich source of data for describing the complex relationships among language, social context, and the cognitive processes that underlie discourse comprehension and production. Evidence is provided that when discourse is studied across different clinical populations, analysis yields an optimal opportunity for developing dynamic models of brain and language that more thoroughly account for the complexity of language use in social contexts. Accordingly, studies presented in this volume have a dual focus -- to examine the implications of discourse research on neurolinguistic theories and to evaluate the contribution of discourse analysis to understanding the clinical status of patients with brain damage. As such, this volume reports patterns of preserved and impaired discourse behavior in normal adults and in different adult clinical populations. It also describes numerous tasks designed to elicit a variety of discourse genres and a host of techniques created to describe how subjects order information and relate ideas across sentences. In addition, it includes numerous abstract units and linguistic devices targeted to examine those aspects of discourse that govern cohesion, organization, and topic manipulation. This volume is unique because it presents both theoretical and clinical papers that examine a variety of communication pathologies. Clinicians often report dissatisfaction with formal test batteries in that results are often at variance with clinical observation of performance in real life situations. To address this concern, this work proposes methods for examining discourse that move the examiner closer to naturalistic sampling. The research presented demonstrates that discourse analysis provides clinically significant information that contributes to the understanding of the cognitive, linguistic, and social status of people with communication disorders. These studies also offer a framework to support continuously evolving diagnostic and treatment paradigms for adults with neurological communication pathologies.