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About 10,000 papers for “Narrative”

Narrative Discourse: Narrators and Narrative Positions (Narrative Theory, 6)

José Ángel García Landa · Humanities Commons CORE (Modern Language Association / Columbia University) · 2005

'Narrative Theory' is an online introduction to classical structuralist narratological analysis. The sixth section deals with the structural positioning of narrators with respect to the narrative act and the fictional world(s) contained by the narrative. Contents: 1. Author, narrator, and narrative person; 2. Kinds of narrative positions; 3. Intradiegetic narratives; 4. Crossing the Limits; 5. Narrative person. Keywords: Narratology, Narrative, Embedding, Fictional worlds, Fictionality, Narrating, Literary theory, Discourse analysis

Cited by 0Open access

Narrative of Narrative (Tristram Shandy)

Jeffrey Williams · MLN · 1990

Tristram Shandy presents an extreme in novelistic interpretation, since the presumed events of the narrative, of Tristram's autobiography and the Shandy family history, are not only told out of order, but are frequently cut off and fragmentary. At times, the suggestion of a word causes the narrative to jump from an event in 1718, say, to Toby's battle experience at Namur in 1695. The plot is peculiar in its appearance of non-linearity and disorder. Also, related to this, Tristram frequently interrupts the narrated events and reflexively calls attention to the question of narration itself. We will here propose that the attendant interpretive problems of this odd narrative are, for the most part, due to a confusion over the concept of plot. The tendency of much of the criticism is to take the events that the narrator says he is narrating unquestioningly as the plot of the novel. The narrator's statements about narrating (as journey, line, digression, etc.) and his recounting of what he is doing and when he is doing it are then seen as somehow above or beyond the plot, as if' these were outside the domain of the narrative proper. Even recent critically sophisticated readings -for instance, Hillis Miller's using Shandy as an exemplar of the deconstruction of linear plot, and Dennis Allen's attending to the linguistic play of the novel-seem to privilege the comments of the narrator, distancing them from the rest of the narrative, and almost taking them as if they were literal, as critical comments on narrative rather than as part of the narrative itself.'

Cited by 5

Introduction: A Narrative on Narrative

Becky Parry · Palgrave Macmillan UK eBooks · 2013

Narrative is ubiquitous and takes many forms, from written and oral language to still and moving images. Barthes (1975) observes that in every culture narrative is ever present: Like life itself, it is there, international, transhistorical, transcultural. (Barthes, 1975, p. 1) As Barthes describes, the earliest philosophers, including Aristotle, turned their attention to defining the characteristics of narratives and this has been the subject of debate as new forms of storytelling emerge. Regardless of innovations in medium and form, narratives continue to be highly important to the lives of children: When we are born we enter into a world of stories: the stories of our parents, our generation, our culture, our nation, our civilisation. (Goodson, et al., 2010, p. 2) As parents we teach children how to be, how to think, how to imagine, how to feel, how to remember, using stories in many different forms. Bruner (1986) describes narrative as a mode of thought and the work of Vygotsky (1978) and Elkonin (1978) demonstrates that it is make-believe or playing stories which form the richest context for young children’s learning. Hardy (1975) describes narrative as a primary act of mind: Narrative is crucial in life and in literature.

Cited by 1

Narrative Coherence and Narrative Aggregation

Alexander Samely · Oxford University Press eBooks · 2013

This chapter deals with narratives. After distinguishing narrative from thematic discourse and commentary texts, questions of emplotment and episodic structure are discussed. Chronological sequence and narrative pace, in particular in connection with dialogue, are explored, and the role of the narrator is examined, in particular in cases where there is an unexplained switch from first-person to third-person narration, as in Tobit. The chapter also describes the narrative means for evaluating characters, for example in relation to gender, physical appearance, moral qualities, or ethnicity, and the relationship between thematic and narrative information within narrative texts.

Cited by 0

Narrative Parallelism and Interpretive Narrative

Gábor Kovács · Religions · 2025

The primary goal of my paper is to elaborate a methodology for literary interpretation that points out how a literary narrative prose text interprets its own characters, plots, and existential problems. In this context, one of the main premises of my remarks is that interpretation, is not the privilege of the act of reading. Misreading, or the “sins” of ideological interpretation can only be avoided if it is recognized that reading and interpretation are problems of the text itself. Beyond the formalist, structuralist, and poststructuralist methodologies of literary analysis, I found in Paul Ricœur’s Biblical hermeneutics the interpretive process and conceptual system that are able to reveal the self-interpretive functions of literary narrative works. According to him, there is a special type of text: the interpretive narrative. The interpretive narrative as a special genre designation refers to the Gospels’ narrative presentation of the passion. In a nutshell: the essence of interpretive narrative is that there is a text interpreting process, which is achieved by the narrative discourse itself (“before” any act of reading). In accordance with the results of Biblical hermeneutics but focusing on literary interpretation, I would like to elaborate on the notion of narrative parallelism in order to reveal those poetic conditions of literary narrative by which misreading or the “sins” of ideological reading can be eliminated. Narrative parallelism is a special type of metaphorical process in which a personal story is interpreted by the story of an object. Literary narrative prose has a specific and unique “virtue” compared to other literary genres or non-literary narratives: using descriptive discourse prose language recognizes, reveals, and narrativizes the significance of details. The second premise of my remarks is that the seemingly secondary narrativized details, or the seemingly insignificant stories of the objects, serve as the interpretation of the literary narrative’s central aspects, namely characters, plots, and existential problems. The interpretation of the presentation of the main character’s story is prefigured in a semantic way by the text itself. I would like to explore the main processes of narrative parallelism as an interpretive narrative by the explanation of a short story’s (A. Moravia: Friendship) twofold emplotment.

Cited by 0Open access

NARRATIVE LEVELS AND EMBEDDED NARRATIVE.

William Nelles · Huskie Commons (Northern Illinois University) · 2011

Sorry, the full text of this article is not available in Huskie Commons. Please click on the alternative location to access it.

Cited by 18