By Hilary P. Dannenberg
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This publication testifies to the starting to be curiosity within the many areas of utopia. It intends to 'map out' on utopian and science-fiction discourses the various new and revisionist types of spatial research utilized in Literary and Cultural reviews in recent times. the purpose of the amount is to side-step the tested widespread binary of utopia and dystopia or technology fiction and therefore to open the research of utopian literature to new traces of inquiry.
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Extra resources for Coincidence and Counterfactuality: Plotting Time and Space in Narrative Fiction (Frontiers of Narrative)
Though, as a matter of fact, coincidences are much rarer than we suppose. ” To [Mr. Beebe’s] relief, George began to talk. “It is. I have reﬂected. It is Fate. Everything is Fate. ” (Forster 1978, 147) George Emerson’s understanding of fate invokes inexorable causal-manipulative forces operating outside his control or comprehension. Mr. Beebe, on the other hand, tells George off for believing in fate and speaks in favor of his ability to causally affect or manipulate his environment: “You have not reﬂected at all,” rapped the clergyman.
The tracing of kinship connections involves both the networking of characters by mapping progenerative lines back to previous generations as well as analogical links involving the perception of genetic similarities. Kinship in the Coincidence Plot Jane Eyre is a prime example of how narrative uses the cognitive plot of kinship. The submerged causal explanation of the novel’s central coincidence (as discussed above) expresses a sense of “sympathies . . between far-distant, longabsent, wholly estranged relatives asserting .
Gerrig (1993, 1996) calls this the “resiliency” of suspense, Carroll (1996) the “paradox” of suspense (see also the discussion in Ryan 2001, 145–48). The processes of liminal plotting and double immersion can be used to explain this phenomenon: they work to suppress the recipient’s conscious knowledge of the actual outcome of events precisely because they create two overriding levels of mental activity centering on events in the ﬁctional world. First, the precarious situation in the narrative here and now (the characters sitting while there is a bomb under the table) draws the recipient into the narrative world so effectively that he experiences the ﬁctional time relations as if they were his own.