ABSTRACT:This essay describes the way that digital narratives (both commercial video games and electronic literature) create two kinds of space: a primary storytelling space in which gameplay or reading occurs, and an orientating space through which those primary spaces are encountered. This orienting space might include a larger narrative world, a menu from which game options can be chosen, or some expressive frame for our reading and play. This essay examines space in narrative theory—especially the work of Ruth Ronen, Gabriel Zoran, David Herman, and Mikhail Bakhtin—in search of a theory able to accommodate this orienting space. After an analysis of the challenges of accounting for intentionally bounded or limited narrative space in these theories, this essay turns to Bakhtin’s under-appreciated distinction between the view from inside and outside of the chronotope, which offers an account of what it would mean to occupy such an orienting space. This essay concludes by arguing that the methodology adopted here can have a wider application. By treating a new medium as offering possibilities that reveal unrecognized tensions and limitations within older theories, this essay describes a kind of narratological archeology similar to recent work on media archeology.

中文翻译：

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跨越叙事媒体的空间：走向叙事学的考古学

摘要：这篇文章描述了数字叙事（商业视频游戏和电子文学）创造两种空间的方式：一个主要讲故事的空间，游戏或阅读发生在其中，以及一个定位空间，通过它遇到这些主要空间。这个定向空间可能包括一个更大的叙事世界，一个可以从中选择游戏选项的菜单，或者一些我们阅读和游戏的表达框架。本文考察了叙事理论中的空间——尤其是露丝·罗南、加布里埃尔·佐兰、大卫·赫尔曼和米哈伊尔·巴赫金的作品——以寻找能够适应这种定向空间的理论。在分析了这些理论中故意限制或有限的叙事空间的挑战之后，这篇文章转向了巴赫金对计时表内部和外部视图之间被低估的区别，它提供了占据这样一个定向空间意味着什么的解释。本文最后认为这里采用的方法可以有更广泛的应用。通过将新媒体视为揭示旧理论中未被认识到的张力和局限性的可能性，本文描述了一种类似于最近媒体考古学工作的叙事考古学。