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This volume is co-edited by the director of the Freiburg graduate school «Factual and Fictional Narration» (GRK 1767, Freiburg/Germany) and the director of the Aarhus Centre for Fictionality Studies (University of Aarhus, DK). The collection of essays re-examines the much discussed fact―fiction distinction in light of the current burgeoning of research on fictionality. It provides a forum for ongoing work on fictionality from France, Germany and Denmark and Sweden. By placing discussions of the notion of fictionality in one volume, the editors hope to initiate exchange between the different traditions represented in the essays und to help the task of translating the available concepts and terminologies so they can travel between different models and theoretical frameworks.

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This study provides a new model for the construction of mentalities and intermental thought of characters in playscripts. It introduces a model that facilitates the analysis of the construction of consciousness, instances of collective thought, and the dynamics of group formation in late-Victorian drama. It can be placed within the framework of cognitive studies because cognitive studies are interested in examining the mental state and the relationship between minds involved in cognitive interaction in narratives. For a long time narrative studies have neglected drama as a genre and, even after the long overdue acceptance of plays in the family of narratives, most critics were eager to focus on performance rather than on playscripts. This book introduces a model through which the analysis of playscripts will be rewarding and worthwhile.

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The temporal structure of Wuthering Heights has long been regarded as opaque or even flawed. This is explained by the fact that the years 1778, 1801 and 1802do not entirely cohere with the numerous relative time references in the novel if, as scholarship contends, the years 1801 and 1802 refer to Ellen Dean’s narration of the story. By means of mathematically precise calculations and a grammatical analysis of the text, this critical new approach argues that the time frame of Wuthering Heights is sound if the years 1801 and 1802 date the writing of Mr. Lockwood’s diary. The crucial differentiation between the recording of Mr. Lockwood’s diary and the narration of Ellen Dean’s story leads to a deeper understanding of the intentions of the two narrators and the behaviour of the protagonists.

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