Abstracts
Abstract
The language of “immersion” in a fictional text lends itself to a dualistic reading that is, at best, unwelcome when attempting to think about narrative experiences ecologically. In this article, I argue for a model of narrative-audience interactions that privileges immersion as affective and temporal entanglement in stories over the containment model. I use Le quattro volte, a 2010 film by Italian director Michelangelo Frammartino, to exemplify this alternative understanding of audiences’ engagement with narrative and discuss its ramifications for recent work at the intersection of narrative theory and ecocriticism.
Keywords:
- Immersion,
- narrative,
- nonhuman turn,
- econarratology,
- affect
Résumé
Le langage de l’« immersion » dans un texte fictionnel se porte bien à une lecture dualiste qui est, au mieux, très peu la bienvenue lorsqu’on tente de réfléchir aux expériences narratives écologiquement. Dans cet article, je soutiens qu’il faut un modèle des interactions public-récit qui privilégie l’immersion comme enchevêtrement affectif et temporel dans les histoires plutôt qu’un modèle basé sur l’enfermement. J’utilise Le quattro volte, un film de 2010 par le réalisateur italien Michelangelo Frammartino, pour exemplifier cette compréhension alternative de l’engagement du public avec un récit et discute des ramifications des travaux récents à l’intersection des théories du récit et de l’écocritique.
Mots-clés :
- Immersion,
- récit,
- tournant non-humain,
- éconarratologie,
- affect
Appendices
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