In this pathfinding study, Suzanne Fleischman brings together theory and methodology from various quarters to shed important new light on the linguistic structure of narrative, a primary and universal device for translating our experiences into language. Fleischman sees linguistics as laying the foundation for all narratological study, since it offers insight into how narratives are constructed in their most primary context: everyday speech. She uses a linguistic model designed for "natural" narrative to explicate the organizational structure of "artificial" narrative texts, primarily from the Middle Ages and the postmodern period, whose seemingly idiosyncratic use of tenses has long perplexed those who study them. Fleischman develops a functional theory of tense and aspect in narrative that accounts for the wide variety of functions—pragmatic as well as grammatical—that these two categories of grammar are called upon to perform in the linguistic economy of a narration.

. . . Fleischman's book takes the study of medieval literature to new hermeneutic horizons. . . . Furthermore, through the use of sociolinguistics she connects the modern and medieval worlds in a way that will make the medieval world less alien to us, and thus her perspective gives us another means by which we can make medieval literature more relevant to our students. --Studies in the Age of Chaucer In this pathfinding study, Suzanne Fleischman brings together theory and methodology from various quarters to shed important new light on the linguistic structure of narrative, a primary and universal device for translating our experiences into language. Fleischman sees linguistics as laying the foundation for all narratological study, since it offers insight into how narratives are constructed in their most primary context: everyday speech. She uses a linguistic model designed for natural narrative to explicate the organizational structure of artificial narrative texts, primarily from the Middle Ages and the postmodern period, whose seemingly idiosyncratic use of tenses has long perplexed those who study them. Fleischman develops a functional theory of tense and aspect in narrative that accounts for the wide variety of functions--pragmatic as well as grammatical--that these two categories of grammar are called upon to perform in the linguistic economy of a narration.

In this book, Irmtraud Huber considers a wide range of contemporary novels to explore the variety of possibilities and effects of the use of the present tense, as well as investigating the reasons for its popularity. By illustrating the complexity and sophistication of four different types of contemporary usage, Huber’s discussion goes some way towards refuting those critical voices which consider present-tense narration a passing fad and stylistic affectation. As a tense of narration, the present can serve to tell different stories than the past tense, or can tell them differently. By no means a passing fad, it is an important characteristic of contemporary literature.

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.

Explores the relationship between the present tense and the conceptualisation of 'presence' in Greek from a cognitive perspective.

Get the Knowledge Without the College! You are a writer. You dream of sharing your words with the world, and you're willing to put in the hard work to achieve success. You may have even considered earning your MFA, but for whatever reason--tuition costs, the time commitment, or other responsibilities--you've never been able to do it. Or maybe you've been looking for a self-guided approach so you don't have to go back to school. This book is for you. DIY MFA is the do-it-yourself alternative to a Master of Fine Arts in creative writing. By combining the three main components of a traditional MFA--writing, reading, and community--it teaches you how to craft compelling stories, engage your readers, and publish your work. Inside you'll learn how to: • Set customized goals for writing and learning. • Generate ideas on demand. • Outline your book from beginning to end. • Breathe life into your characters. • Master point of view, voice, dialogue, and more. • Read with a "writer's eye" to emulate the techniques of others. • Network like a pro, get the most out of writing workshops, and submit your work successfully. Writing belongs to everyone--not only those who earn a degree. With DIY MFA, you can take charge of your writing, produce high-quality work, get published, and build a writing career.

England in the 1520s is a heartbeat from disaster. If the king dies without a male heir, the country could be destroyed by civil war. Henry VIII wants to annul his marriage of twenty years and marry Anne Boleyn. The pope and most of Europe oppose him. The quest for the king’s freedom destroys his advisor, the brilliant Cardinal Wolsey, and leaves a power vacuum and a deadlock. Into this impasse steps Thomas Cromwell. The son of a brutal blacksmith, a political genius, a briber, a bully and a charmer, Cromwell has broken all the rules of a rigid society in his rise to power. Narrowly escaping personal disaster—the loss of his young family and of Wolsey, his beloved patron—he picks his way deftly through a court where “man is wolf to man.” Pitting himself against parliament, the political establishment and the papacy, he is prepared to reshape England to his own and Henry’s desires. In inimitable style, Hilary Mantel presents a picture of a half-made society on the cusp of change, where individuals fight or embrace their fate with passion and courage. Wolf Hall re-creates an era when the personal and political are separated by a hair’s breadth, where success brings unlimited power, but a single failure means death.

Responding to the current surge in present-tense novels, Making Time is an innovative contribution to narratological research on present-tense usage in narrative fiction. Breaking with the tradition of conceptualizing the present tense purely as a deictic category denoting synchronicity between a narrative event and its presentation, the study redefines present-tense narration as a fully-fledged narrative strategy whose functional potential far exceeds temporal relations between story and discourse. The first part of the volume presents numerous analytical categories that systematically describe the formal, structural, functional, and syntactic dimensions of present-tense usage in narrative fiction. These categories are then deployed to investigate the uses and functions of present-tense narration in selected twenty-first century novels, including Hilary Mantel’s Wolf Hall, Margaret Atwood’s Oryx and Crake, Ian McEwan’s Nutshell, and Irvine Welsh’s Skagboys. The seven case studies serve to illustrate the ubiquity of present-tense narration in contemporary fiction, ranging from the historical novel to the thriller, and to investigate the various ways in which the present tense contributes to narrative worldmaking.

This study presents a comparative approach to a universal theory of TENSE, ASPECT and MOOD, combining the methods of comparative and historical linguistics, fieldwork, text linguistics, and philology. The parts of the book discuss and describe (i) the concepts of TENSE, ASPECT and MOOD; (ii) the Tibetan system of RELATIVE TENSE and aspectual values, with main sections on Old and Classical Tibetan, "Lhasa" Tibetan, and East Tibetan (Amdo and Kham); and (iii) West Tibetan (Ladakhi, Purik, Balti); Part (iv) presents the comparative view. Discussing the similarities and differences of temporal and aspectual concepts, the study rejects the general claim that ASPECT is a linguistic universal. A new linguistic concept, FRAMING, is introduced in order to account for the aspect-like conceptualisations found in, e.g., English. The concept of RELATIVE TENSE or taxis, may likewise not be universal. Among the Tibetan varieties, West Tibetan is unique in having fully grammaticalized the concept of ABSOLUTE TENSE. West Tibetan is compared diachronically with Old and Classical Tibetan (documented since the mid 8th century) and synchronically with several contemporary Tibetan varieties. The grammaticalized forms of each variety are described on the basis of their employment in discourse. The underlying general function of the Tibetan verbal system is thus shown to be that of RELATIVE TENSE. Secondary aspectual functions are described for restricted contexts. A special focus on the pragmatic or metaphorical use of present tense constructions in Tibetan leads to a typology of narrative conventions. The last part also offers some suggestions for the reconstruction of the Proto-Tibetan verb system.