Narrative Co-Construction: Author-Audience Interactions and Their Contexts: Theory and Interpretation of Narrative
Editat de Malcah Effron, Margarida McMurry, Virginia Pignagnolien Limba Engleză Hardback – 29 sep 2026
Advances a new, inclusive, and varied framework for understanding narrative as a product of interplay between authors, audiences, and texts.
In centering the interplay between authors and audiences as the foundation for the narrative act, the innovative and varied collection Narrative Co-Construction makes a resounding argument for the importance of making space for attending to world-building both within the world of the story and out in the world of the audience. Drawing from a range of theoretical orientations, contributors advance a framework that allows multiple points of entry to a given story and welcomes intersectional approaches, both in terms of the embodied identities of its critics and in terms of the theoretical tools they use to identify the methodologies currently active within narrative theory.
Analyzing texts by Jane Austen, André Gide, Mark Z. Danielewski, Ruth Ozeki, Ocean Vuong, and others, as well as interviews and digital (epi)texts, contributors put co-construction in dialogue with digital media studies, empirical studies, cognitive theories, literary history, literary geography, narrative criminology, and more. This inclusive approach puts different viewpoints, identities, and intellectual allegiances in conversation and asserts the value of making context and intersectionality explicit when examining narrative. By highlighting the author-audience collaboration at the heart of narrative vitality, Narrative Co-Construction deepens our understanding of narrative’s world-building power and celebrates how fictions engage readers.
Contributors:
Helen H. Davis, Malcah Effron, Erika Gotfredson, Lindsay Holmgren, Isabell Klaiber, Margaret Love, Margarida McMurry, Rae Muhlstock, Virginia Pignagnoli, Lois Presser, Alexander Scherr, Siim Sorokin, Martha Swift, Anna Torvaldsen, Katherine Weese
In centering the interplay between authors and audiences as the foundation for the narrative act, the innovative and varied collection Narrative Co-Construction makes a resounding argument for the importance of making space for attending to world-building both within the world of the story and out in the world of the audience. Drawing from a range of theoretical orientations, contributors advance a framework that allows multiple points of entry to a given story and welcomes intersectional approaches, both in terms of the embodied identities of its critics and in terms of the theoretical tools they use to identify the methodologies currently active within narrative theory.
Analyzing texts by Jane Austen, André Gide, Mark Z. Danielewski, Ruth Ozeki, Ocean Vuong, and others, as well as interviews and digital (epi)texts, contributors put co-construction in dialogue with digital media studies, empirical studies, cognitive theories, literary history, literary geography, narrative criminology, and more. This inclusive approach puts different viewpoints, identities, and intellectual allegiances in conversation and asserts the value of making context and intersectionality explicit when examining narrative. By highlighting the author-audience collaboration at the heart of narrative vitality, Narrative Co-Construction deepens our understanding of narrative’s world-building power and celebrates how fictions engage readers.
Contributors:
Helen H. Davis, Malcah Effron, Erika Gotfredson, Lindsay Holmgren, Isabell Klaiber, Margaret Love, Margarida McMurry, Rae Muhlstock, Virginia Pignagnoli, Lois Presser, Alexander Scherr, Siim Sorokin, Martha Swift, Anna Torvaldsen, Katherine Weese
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Specificații
ISBN-13: 9780814216231
ISBN-10: 0814216234
Pagini: 264
Dimensiuni: 152 x 229 mm
Greutate: 0.52 kg
Editura: Ohio State University Press
Colecția Ohio State University Press
Seria Theory and Interpretation of Narrative
ISBN-10: 0814216234
Pagini: 264
Dimensiuni: 152 x 229 mm
Greutate: 0.52 kg
Editura: Ohio State University Press
Colecția Ohio State University Press
Seria Theory and Interpretation of Narrative
Recenzii
“Narrative Co-Construction shakes up long-standing practices prioritizing authors and texts over readers in studies of narrative communication and rhetorical narratology. The coeditors’ generous spirit of inclusion invites practitioners and theorists to collaborate on readers’ active roles, showing how the creative contributions of readers, texts, and authors interact productively.” —Suzanne Keen, author of Empathy and Reading: Affect, Impact, and the Co-Creating Reader
Notă biografică
Malcah Effron (Editor) Malcah Effron teaches in the Writing, Rhetoric, and Professional Communication program at the Massachusetts Institute of Technology. She is the coeditor of The Function of Evil Across Disciplinary Contexts and The Millennial Detective: Essays on Trends in Crime Fiction, Film and Television.Margarida McMurry (Editor) Margarida McMurry is a Portuguese language tutor for the Foreign, Commonwealth, and Development Office in the United Kingdom. Virginia Pignagnoli (Editor) Virginia Pignagnoli is Assistant Professor in the Department of English and German Studies at the Universitat Autònoma de Barcelona. She is the author of Post-Postmodernist Fiction and the Rise of Digital Epitexts.
Extras
Co-Construction: Narrative in Action
The narrative act, we claim, is an interaction, or engagement, between an author communicating through storytelling and readers working to reconstruct story and message from the author-generated text, using a variety of techniques to interpret what is present and fill in what is absent, where the resultant product is a narrative. Theorizing from this definitional position, we introduce attention to co-construction as a theoretic approach to narrative that integrates the perspectives of current theories of narrative, such as rhetorical, cognitive/world-building, and contextualist, as well as the positionality of both author and audience (member). Co-construction originates as a descriptor for the process of experiencing narrative as a storyworld resulting from the author’s text, the author’s and the audience’s situated experiences, assumptions, and contexts, and as the newly constructed actual world based on the message received from this communicative act. As the theorization of this process evolved, co-construction came to signify a theory in its own right.
Narrative co-construction is thus both a process and a theoretical framework. As a process, it is based on the core concept that narrative is an intentionally communicative act and thus a narrative is the result of a collaborative exercise between author and audience. This process refers to the engagement of authors, narratives, and their audience members, which results in a narrative that happens in a storyworld co-built by the assumptions, contexts, and experiences of both author(s) and audience(s). As a theory, narrative co-construction moves beyond merely integrating current rhetorical and cognitive approaches to narrative theory by approaching the rhetorical aspects of the narrative act following Lloyd F. Bitzer’s notion that the rhetor’s product “becomes a mediator of change” (1968, 4). So, we argue, narrative, as a co-constructed artefact, can—and often should—result in a newly constructed actual world based on the message received from this communicative act. Therefore, a complete understanding of narrative must consider the role of the positionality and agency, especially the collaborative agency, of authors and audiences in their interaction with the narrative, which results in a co-constructed storyworld.
This theory of narrative co-construction(which is an abbreviated way to refer to a theory of narrative as the co-constructed product of the narrative act as a rhetorical one) provides a holistic framework to the study of narrative in context. It posits that focusing on the reading of the text is not enough to fully understand the narrative process as a whole, from its creation to its interpretation and even reinterpretation, where the latter can come from a rereading, an extension from the author of the narrative, or simply from a revised perspective due to external factors. The theory of narrative co-construction enables recognition of the gaps that can be filled by intertwining different critical theories, often by attending to the role of context or narrative occasion, not only in the cultural and material contexts of authorial production but also in the material, temporal, and cultural contexts of audience consumption and the role this consumption plays on the audience’s understanding and action in the actual world. These contexts include, but are not limited to, the intersectional and embodied positionalities of both authors and the members of the actual audience.
The narrative act, we claim, is an interaction, or engagement, between an author communicating through storytelling and readers working to reconstruct story and message from the author-generated text, using a variety of techniques to interpret what is present and fill in what is absent, where the resultant product is a narrative. Theorizing from this definitional position, we introduce attention to co-construction as a theoretic approach to narrative that integrates the perspectives of current theories of narrative, such as rhetorical, cognitive/world-building, and contextualist, as well as the positionality of both author and audience (member). Co-construction originates as a descriptor for the process of experiencing narrative as a storyworld resulting from the author’s text, the author’s and the audience’s situated experiences, assumptions, and contexts, and as the newly constructed actual world based on the message received from this communicative act. As the theorization of this process evolved, co-construction came to signify a theory in its own right.
Narrative co-construction is thus both a process and a theoretical framework. As a process, it is based on the core concept that narrative is an intentionally communicative act and thus a narrative is the result of a collaborative exercise between author and audience. This process refers to the engagement of authors, narratives, and their audience members, which results in a narrative that happens in a storyworld co-built by the assumptions, contexts, and experiences of both author(s) and audience(s). As a theory, narrative co-construction moves beyond merely integrating current rhetorical and cognitive approaches to narrative theory by approaching the rhetorical aspects of the narrative act following Lloyd F. Bitzer’s notion that the rhetor’s product “becomes a mediator of change” (1968, 4). So, we argue, narrative, as a co-constructed artefact, can—and often should—result in a newly constructed actual world based on the message received from this communicative act. Therefore, a complete understanding of narrative must consider the role of the positionality and agency, especially the collaborative agency, of authors and audiences in their interaction with the narrative, which results in a co-constructed storyworld.
This theory of narrative co-construction(which is an abbreviated way to refer to a theory of narrative as the co-constructed product of the narrative act as a rhetorical one) provides a holistic framework to the study of narrative in context. It posits that focusing on the reading of the text is not enough to fully understand the narrative process as a whole, from its creation to its interpretation and even reinterpretation, where the latter can come from a rereading, an extension from the author of the narrative, or simply from a revised perspective due to external factors. The theory of narrative co-construction enables recognition of the gaps that can be filled by intertwining different critical theories, often by attending to the role of context or narrative occasion, not only in the cultural and material contexts of authorial production but also in the material, temporal, and cultural contexts of audience consumption and the role this consumption plays on the audience’s understanding and action in the actual world. These contexts include, but are not limited to, the intersectional and embodied positionalities of both authors and the members of the actual audience.
Cuprins
Introduction Narrative Co-Construction: A Framework for Studying Narrative in Context
Chapter 1 Narrative Co-Construction: A Rhetorical Approach (Malcah Effron, Margarida McMurry, and Virginia Pignagnoli)
Chapter 2 Co-Construction Across Time and Space: Ruth Ozeki’s A Tale for the Time Being (Katherine Weese)
Chapter 3 Conjectures Right and Wrong: Rereading and Co-Constructions in Jane Austen’s Emma (Helen H. Davis)
Chapter 4 Co-Constructing Caryl Phillip’s Cambridge: The Role of Prior Reading in Narrative Co-Construction (Malcah Effron and Margaret Love)
Chapter 5 Being Theseus: The Labyrinth as a Model for Narrative Co-Construction in Gide and Danielewski (Rae Muhlstock)
Chapter 6 Co-Construction in Conversation with Literary Geography: Readers Reconstructing Narrative Space in Celeste Ng’s Little Fires Everywhere (Erika Gotfredson)
Chapter 7 Social Change Through Character Co-Construction in Ocean Vuong’s On Earth We’re Briefly Gorgeous (Virginia Pignagnoli)
Chapter 8 “Plagiarizing the World”: Author-Audience Interactions and Collective World-Building in Olivia Laing’s Crudo (Martha Swift)
Chapter 9 Extended Unreliable Narration: Vladimir Nabokov and Ian McEwan as Untrustworthy Public Authors (Alexander Scherr)
Chapter 10 A Meeting of Minds: Narrative Co-Construction in Collaborative Literary Fiction (Isabell Klaiber)
Chapter 11 Conspiratory Contra-Plotting: Some Notes for the Conceptual Expansion of Narrative Co-Construction (Siim Sorokin)
Chapter 12 Co-Constructing Stories of Self: The Case of Criminology (Lois Presser)
Chapter 13 COVID-19, Climate Change, and the Future: Co-Constructing Finitude (Anna Torvaldsen and Lindsay Holmgren)
Acknowledgments
Contributors
Index
Chapter 1 Narrative Co-Construction: A Rhetorical Approach (Malcah Effron, Margarida McMurry, and Virginia Pignagnoli)
Chapter 2 Co-Construction Across Time and Space: Ruth Ozeki’s A Tale for the Time Being (Katherine Weese)
Chapter 3 Conjectures Right and Wrong: Rereading and Co-Constructions in Jane Austen’s Emma (Helen H. Davis)
Chapter 4 Co-Constructing Caryl Phillip’s Cambridge: The Role of Prior Reading in Narrative Co-Construction (Malcah Effron and Margaret Love)
Chapter 5 Being Theseus: The Labyrinth as a Model for Narrative Co-Construction in Gide and Danielewski (Rae Muhlstock)
Chapter 6 Co-Construction in Conversation with Literary Geography: Readers Reconstructing Narrative Space in Celeste Ng’s Little Fires Everywhere (Erika Gotfredson)
Chapter 7 Social Change Through Character Co-Construction in Ocean Vuong’s On Earth We’re Briefly Gorgeous (Virginia Pignagnoli)
Chapter 8 “Plagiarizing the World”: Author-Audience Interactions and Collective World-Building in Olivia Laing’s Crudo (Martha Swift)
Chapter 9 Extended Unreliable Narration: Vladimir Nabokov and Ian McEwan as Untrustworthy Public Authors (Alexander Scherr)
Chapter 10 A Meeting of Minds: Narrative Co-Construction in Collaborative Literary Fiction (Isabell Klaiber)
Chapter 11 Conspiratory Contra-Plotting: Some Notes for the Conceptual Expansion of Narrative Co-Construction (Siim Sorokin)
Chapter 12 Co-Constructing Stories of Self: The Case of Criminology (Lois Presser)
Chapter 13 COVID-19, Climate Change, and the Future: Co-Constructing Finitude (Anna Torvaldsen and Lindsay Holmgren)
Acknowledgments
Contributors
Index
Descriere
Highlights the author-audience collaboration at the heart of narrative vitality to deepen our understanding of narrative’s world-building power and argue for a more inclusive, interdisciplinary approach to understanding story.