Abut = /ë"bšt/ also abut on past tense and past participle abutted, present participle abutting [transitive] formal

if one piece of land or a building abuts another, it is next to it or touches one side of it

beacon /ˈbiː.k ə n/ noun [ C ] a light or fire on the top of a hill that acts as a warning or signal

scrappy /ˈskræp.i/ adjective NOT ORGANIZED 1. badly arranged or planned and consisting of parts which fit together

badly I'm afraid your last essay was a very scrappy piece of work.

lurk

vi a sta ascuns

lurk /lɜːk/ /lɝːk/ verb 1. [ I usually + adverb or preposition ] to wait or move in a secret way so

that you cannot be seen, especially because you are about to attack someone or do something wrong

MEME = Richard Dawkins initially defined meme as a noun which "conveys the idea of a unit of cultural transmission, or a unit of imitation".[5] John S. Wilkins retained the notion of meme as a kernel of cultural imitation while emphasizing the meme's evolutionary aspect, defining the meme as "the least unit of sociocultural information relative to a selection process that has favourable or unfavourable selection bias that exceeds its endogenous tendency to change."[16] The meme as a unit provides a convenient means of discussing "a piece of thought copied from person to person", regardless if that thought contains others inside it, or forms part of a larger meme. A meme could consist of a single word, or a meme could consist of the entire speech in which that word first occurred. This forms an analogy to the idea of a gene as a single unit of self-replicating information found on the self-replicating chromosome.

A meme has no given size

A field of study called memetics[7] arose in the 1990s to explore the concepts and transmission of memes in terms of an evolutionary model. Criticism from a variety of fronts has challenged the notion that scholarship can examine memes empirically. Some commentators question the idea that one can meaningfully categorize culture in terms of discrete units.

Fabula and sujet

Antenarrative - The antenarrative is defined as the double move of a bet (ante) or a before (ante) of story on its way to narrative (Boje, 2001). One way to approach sujet and fabula is to assume that the story stuff of fabula is antecedent to sujet plottedness of narrative. This would be consistent with Paul Ricoeur's (1983) Time and Narrative, in which first memesis is a pre-story to second memesis of emplotment, which is antecedent to the third memesis of making sense of plottedness. This is the basis for a hermeneutics of narrative.

A second line of inquiry would look at sujet and fabula as antenarratives that can defragment or otherwise unweave narrative emplotment (sujet), rendering them into story stuff (fabula). In other words, instead of assuming a conception of time that is spatial (Shotter, 1993), as a spatial-past, spatial-present, and spatial-future, there would be other kinds of Bakhtin (1981) chronotopes (space-time relativities).

In antenarrative analysis the distinction between fabula and sujet become irrelevant for several reasons. Both fabula and sujet do not take into account the social conditions which are the basis of the sujet reconstruction. The storyteller as a matter of fact is barely present as a sociological figure in the way Benjamin describes it (Benjamin, 1969). Even if we take the sujet as part of a social practice (although the emphasis of narratologists is absolutely not on that) sujet deals with cognitive patterns that are taken for granted in a certain culture as Bakhtin as shown for the novel (Bakhtin, 1981), while antenarrative aims at showing the precariousness of those patterns and the uniqueness of

human experience. Sujet is a pattern of plotting, which although historicized does not take into account the cracks of narratives and the opening to doubt.

sujet is what we come to understand as a given (fictional) narrative= discourse

fabula is how we come to understand it.= story

Sujet is an employment of narrative and fabula is the order of retelling events. They were first used in this sense by Vladimir Propp and Shklovsky.[1]

Story, for Bakhtin, is decidedly more dialogical, for example in the “polyphonic manner of the story” (Bakhtin, 1973: 60).