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The narratology of memory. The case of Stanisław Vincenz

Narratologia pamięci. Casus Stanisława Vincenza

Author(s): Michał Kaczmarek / Language(s): Polish / Issue: 5/2006

Keywords: Vincenz; Narratology; Poetics; Storytelling; Polish Literature

This article discusses the issues of narratology of memory in Stanisław Vincenz’s novel-cycle Na wysokiej połoninie, which, along with genology, rhetoric and other related issues, forms part of Vincenz’s multi-aspect mnemology. The way the narrator is structured and the narrative structures appearing are viewed in terms of the memory category which fulfils certain determined functions therein. The several narrative subjects (the author/narrator and the characters acting as narrators) allows one to speak of a common universal category of narrator as a poviastun [story-teller], i.e. a person with a certain memory at his or her disposal, performing acts of recollection/story-telling (or, recollection/poviastun-ing). The numerous memory narrations present in the Vincenz text imply multi-optional memory-based narrative strategies, being contemplated in the essay. In a mnemonological perspective, the poviastun becomes a narrative subject with his/her own ‘mnemic experience’; story-telling/poviastun-ing becomes identified with narrative acts of recollecting, whereas the story (or, the ‘tidings’) assumes the form of a mnemic text being proper with prose of memory.

Paths to Paralysis: Symbolism and Narratology in James Joyce’s “Araby” and “Eveline”

Paths to Paralysis: Symbolism and Narratology in James Joyce’s “Araby” and “Eveline”

Author(s): Golbarg Khorsand / Language(s): English / Issue: 2/2014

Keywords: Joyce; paralysis; symbolism; narratology; Araby; Eveline

There are three nets that shape the basic notions in Joyce's works: religion, language and nationality. The dilemma of his plots revolves around at least one of these issues. Joyce believes that for a man to seek and reach the true nature of freedom in his life, it is necessary to leave these boundaries behind. Usually in most cases, one of the characters in Joyce's writings is captive by those nets. They are put in a dramatic situation in which a revelation would lead him/her to an epiphany. Joyce's use of symbolism and realism and also his different layers of narration is what endow significance, life and glamour to the simple plots of his stories. The main point of concentration in this paper is to define the notion of paralysis in terms of symbolism and narratology, respectively in the two short stories "Araby" and "Eveline"; to show how different symbols and different voices draw upon the desired theme of the author; how religion, language and nationality are packed into variant symbols in order to enhance their significant function in issue of paralysis and how the various methods of narration can depict the nature of paralysis with which the characters struggle

Intermediality between Games and Fiction: The “Ludology vs. Narratology” Debate in Computer Game Studies: A Response to Gonzalo Frasca

Intermediality between Games and Fiction: The “Ludology vs. Narratology” Debate in Computer Game Studies: A Response to Gonzalo Frasca

Author(s): Michalis Kokonis / Language(s): English / Issue: 09/2014

Keywords: intermediality; ludology; narratology; semiotics; stories; computer games; gameplay; God-games

In the last ten or fourteen years there has been a debate among the so called ludologists and narratologists in Computer Games Studies as to what is the best methodological approach for the academic study of electronic games. The aim of this paper is to propose a way out of the dilemma, suggesting that both ludology and narratology can be helpful methodologically. However, there is need for a wider theoretical perspective, that of semiotics, in which both approaches can be operative. The semiotic perspective proposed allows research in the field to focus on the similarities between games and traditional narrative forms (since they share narrativity to a greater or lesser extent) as well as on their difference (they have different degrees of interaction); it will facilitate communication among theorists if we want to understand each other when talking about games and stories, and it will lead to a better understanding of the hybrid nature of the medium of game. In this sense the present paper aims to complement Gonzalo Frasca’s reconciliatory attempt made a few years back and expand on his proposal.

Genettian Narratology of an Idiot’s Narrative: Benjy’s Narrative

Genettian Narratology of an Idiot’s Narrative: Benjy’s Narrative

Author(s): Roshanak Yazdanpoor,Parvin Ghasemi,Aref Faghih Nassiri / Language(s): English / Issue: 1/2012

Keywords: narrative techniques; Gérard Genette; order; duration; frequency; mood; voice.

This study examines the narrative techniques of the first section, Benjy’s narrative, of William Faulkner’s major work, The Sound and the Fury (1929) based on the narrative theory proposed by Gérard Genette in Narrative Discourse: An Essay in Method (1980). The novel consists of four sections. Each chapter is narrated by a different narrator; the first narrator is Benjy, the idiot. This study will be a close analysis of the narratives of Benjy’s narration of the events regarding the narratology of Genette’s aforementioned book. Such terms as “order,” “duration,” “frequency,” “mood,” and “voice” as general terms and also their subcategories will be explained and then will be traced back in and applied to Benjy’s narrative and finally will be supported by adequate instances from the text. Due to the narrative techniques used by Faulkner, the novel, especially the first section, is obscure and difficult to read and understand. If this chaotic, disordered, and confusing world, which is created deliberately by the novelist, comes into a systematic and wellstructured framework like that of Genette’s narrative theory in Narrative Discourse: An Essay in Method (1980), it will be easier to read, understand, enjoy and appreciate.

Toward a Feminist Narratology

Ka feminističkoj naratologiji

Author(s): Susan S. Lanser / Language(s): Serbian / Issue: 06-07/2005

Keywords: feminist criticism; narratology; feminist literature;

Article about the feminist narratology.

Diachronic narratology and the realist objectivization of narrative

Diachronní naratologie a realistická objektivizace vyprávění

Author(s): Jiří Koten / Language(s): Czech / Issue: 5/2016

Keywords: historical poetics; diachronic narratology; dialogičnost; objektivizace vyprávění; narativní komentář

This article deals with the historical poetics of narrative (inter alia in line with the programme of “diachronic narratology”, which focuses on describing and analysing the development of narrative forms and devices). Attention is also focused on the techniques that are characteristic of realism, which is understood to be a discourse phenomenon in literary history (i.e. not as some timeless phenomenon) and primarily as the suppression of novel dialogicality resulting from the aesthetic norms of 19th century realism. In line with Mikhail Bakhtin and Patricia Waugh’s theories, dialogicality is presented as a trend that is typical of the novel genre. Quite characteristic of the pre-realist novel is the conflict between the depicting (author’s) and the depicted (narrator’s) voice. The requirement for more realistic narration resulted in the suppression of this dual voice, i.e. in a trend towards the objectivization of narrative, which manages to conceal its literary nature and aim for the illusion of directly depicting reality. The objectivization of narration is based on Czech historical prose material (Linda, Klicpera, Tyl and Jirásek), in which the orientation towards a neutral perspective was made evident inter alia in the gradual elimination of narrative commentary, which had originally fulfilled both an interpretational and a formative (patriotic rhetoric) function. A similar phenomenon involving concealment of literariness also appears in personal narration, in which the fictional narrator progressively suppresses the originally evident authorial authority (obvious, for example, in the forewords to novels). Realist novels frequently mask themselves as authentic speech genres (with written or oral narration).

Gérard Genette’s Paratext in Contemporary Narratology

Pojam parateksta Gérarda Genettea u okviru suvremene naratologije

Author(s): Ivana Buljubašić / Language(s): Croatian / Issue: 1/2017

Keywords: Paratext; text; narrative; Gérard Genette; narratology; postclassical narratology;

The paper proposes a rethinking of the contemporary narratological apparatus and the integration of Gérard Genette’s concept of the paratext in modern narratological practice. Considering the contextuality of the postclassical narratology and its tendency to explicate narratives through an interdisciplinary framework, the paratexts proposed by Genette could be understood in the same sense. The paper tries to overcome the shortcomings of the structuralist understanding of narrative, and to properly situate the paratext in terms of analysis and interpretation of narrative, within and beyond it.It also aims to analyse some paratexts, suggested by Genette in his study, and provide guidelines for further analysis of similar features in the literary texts.

Neapolitan Novels under the Magnifying Glass of Feminist Narratology

Napuljska tetralogija pod lupom feminističke naratologije

Author(s): Jelena Lalatović / Language(s): Serbian / Issue: 21/2017

Keywords: Neapolitan novels; Elena Ferrante; feminist narratology; textuality of gender; feminist criticism; gynocriticism

In this paper, we are going to analyze narrative strategies in Neapolitan novels by Elena Ferrante. In this analysis we apply feminist narratology. Feminist narratology is a syncretic approach that seeks to link structuralism to gynocriticism in order to provide a precise investigation of both political and poetic aspects of the text. The aims of this paper are twofold. First of all, we want to explore the connection between the formal attributes of Neapolitan novels and the textual politics of gender which is directly or indirectly incorporated into them, assuming that certain emancipatory attitudes and discourses can be read from the poetics of the novel and from the manner in which the author modifies genres and literary conventions. Addtionally, since feminist narratology is not the only method of the feminist criticism we use in this paper, the second goal is to present the relationship between different approaches such as feminist narratology, gynocriticism and gynesis, as well as their inherent constraints.

Aspects of Musical Semantics from the Perspective of Structuralism, Semiotics and Narratology

Aspects of Musical Semantics from the Perspective of Structuralism, Semiotics and Narratology

Author(s): Mihaela-Georgiana Balan / Language(s): English / Issue: 18/2018

Keywords: semantics;linguistics;musical language;structural analysis;

Music is a universal force, a widely spread mean of communication on the entire planet, because it has a strong ability to influence human emotions, even without words (when referring to instrumental or symphonic music). Thus, music is one of the most challenging arts in 'deciphering' the hidden message of its creator. The present paper is focused on three analytical techniques which imposed themselves in the musicology field of the 20th century – structuralism, semiotics, narratology. Our purpose is to offer a general outlook on these perspectives and some specific principles of applicability when approaching a musical score, in terms of formal construction, sonorous structures, equivalence classes applied to musical elements, energetic potential of musical isotopes using modal verbs, essential aspects in determining the narrative frame (spatiality, temporality, actoriality). Structuralism, semiotics and narratology emerged as independent sciences successively, during half a century, influencing each other in a stimulating coexistence which enabled a wide scientific opening until present.

PLAYING BEYOND ONESELF: AN APPLICATION OF COGNITIVE NARRATOLOGY IN THE STUDY OF DIGITAL GAMES

PLAYING BEYOND ONESELF: AN APPLICATION OF COGNITIVE NARRATOLOGY IN THE STUDY OF DIGITAL GAMES

Author(s): Diana Melnic / Language(s): English / Issue: 2/2018

Keywords: storytelling in digital games; cognitive narratology; Theory of Mind; role-playing game (RPG); video game culture; game philology;

The Category of Intrigue in Contemporary Narratology

Категория интриги в современной нарратологии

Author(s): Walerij Tiupa / Language(s): Russian / Issue: 87/2013

Keywords: intrigue; intrigue of revelation; liminal intrigue; narrative; plot; readerly engagement;

The article considers Paul Ricoeur’s innovative investigation of the category “narrative intrigue”. An attempt at translating the term from the language of philosophical generalizations into the language of theory of literature is made. Ricoeur’s attention is focused on the correlation of the plot and readerly reception, i.e. on the “event of telling” as an aspect of the plot. An intrigue as fundemental interest of narration is tension in a row of events that triggers certain receptive expectations and presupposes a certain satisfaction of these expectations. Organizing readerly reception, a narrative intrigue interrupts a story and unites its fractal episodes into one utterance. These multidirectional actions are inavoidable because the time of telling and “the told time” are not only unequal but different in terms of quality. The time of story is multidimensional and continuous, while the speech discourse is one-dimensional and discontinuous. A narrative intrigue in the text is a system of episodes whose boundaries indicate a fractal break of the narrated world: temporal, spacious or actantial, or two or three simulnaneous breaks. A chain of these elements of turning the story into an intrigue becomes a certain system characterized by a logic of increases or decreases; recurrent alternations, repetitions or similarities; contrast. Some episodes take up the marked positions: initial, final, central or the position of “golden ratio”. The article views the cyclical, liminal and cumulative plot schemes as already known in literary theory types of the plot. A possibility of existence of one more narrative intrigue, the intrigue of revelation, is also indicated.

The Future of Narratology is in Hybridization: An Interview with Jan Alber

Budoucnost naratologie je v hybridizaci: rozhovor s Janem Alberem

Author(s): Jan Alber,Zuzana Fonioková,Jana Vrzalíková / Language(s): Czech / Issue: 1/2016

Keywords: Jan Alber; narration; narratology; hybridization; prose; narrative strategy; interview;

Budoucnost naratologie je v hybridizaci: rozhovor s Janem Alberem / The Future of Narratology is in Hybridization: An Interview with Jan Alber

TOWARD A FEMINIST NARRATOLOGY AND OTHER ISSUES: RESHAPING THE INTERPRETATIVE CLICHES, RESHAPING THE WAY WE READ

TOWARD A FEMINIST NARRATOLOGY AND OTHER ISSUES: RESHAPING THE INTERPRETATIVE CLICHES, RESHAPING THE WAY WE READ

Author(s): Susan S. Lanser,Aleksandra Nikčević-Batrićević / Language(s): English / Issue: 5/2011

Keywords: Susan S. Lanser; Feminist narratology;

Interview with Susan S. Lanser by Aleksandra Nikčević-Batrićević

Why we need a medieval narratology

Proč potřebujeme naratologii středověku

Author(s): / Language(s): Czech / Issue: 4/2019

Keywords: Chaucer;Canterbury Tales;medieval narrytology; thery of literature;

Chaucerovy Canterburské povídky, napsané v pozdním 14. století, jsou výjimečnou přehlídkou středověkých žánrů a narativních forem: středověký román, fabliau, životy svatých, zvířecí epika, alegorie, kázání, tragédie de casibus. Poutníci na cestě do Canterbury nabízejí reprezentativní přehled žánrového bohatství, z něhož mohli středověcí autoři vyjít a zacházet s ním tvůrčím způsobem. Rozdílné reakce poutníků na jednotlivá vyprávění ukazují, že jejich hodnocení je silně podřízeno měřítkům vkusu. Například Rytířovu povídku ocení celá společnost (Chaucer, I, 3109–3113); Mlynářova povídka skončí všeobecným smíchem a popuzen je pouze rychtář, protože se haní jeho vlastní povolání truhláře (ibid., I, 3855–3862), zatímco Geffreyho Povídku o Siru Topasovi přeruší hostinský coby snůšku „otravných […] žvástů“ (lewednesse) a „rýmovačku bídnou“ (drasty rymyng; ibid., VII, 921 a 930).1 Řekneme-li, že vkus se proměňuje, zní to otřepaně: je však třeba vzít v úvahu, že literární vkus — tedy představa o tom, co je literatura — není ahistorický, nýbrž pevně ukotvený v historickém a kulturním kontextu narativních praktik. Vykládáme- -li vzájemná hodnocení účastníků vyprávění jako komické výstupy, vyžaduje to od nás povědomí o dějinných okolnostech, za nichž a na jejichž pozadí byly Canterburské povídky vytvořeny a jež určovaly jejich obrysy. Stejně tak si musíme být vědomi zprostředkovatelské úlohy badatelů, kteří texty analyzují coby projevy historických narativních praktik. Teorie vyprávění má velkou příležitost postihnout tuto situaci v její spletitosti: vzhledem k zaměření na formy a funkce může naratologie přispět — a to právě ta postklasická — k lepšímu pochopení jednotlivých složek vyprávění, a to jak v jednotlivých literárních obdobích, tak v jejich průřezu (k postklasické narratologii viz alber—fludernik 2010).

Songs of ‘Experientiality’: Reconsidering the Relationship between Poeticity and Narrativity in Postclassical Narratology

Songs of ‘Experientiality’: Reconsidering the Relationship between Poeticity and Narrativity in Postclassical Narratology

Author(s): Samuel Caleb Wee / Language(s): English / Issue: 01/2019

Keywords: poeticity; narrativity; experientiality; natural narratology; postclassical narratology; segmentivity; naturalization;lyric poetry;

Despite the long tradition of narrative poetry, postclassical narratology struggles with acknowledging the genre. I argue that this stems from a common assumption that poeticity functions as an antonym to narrativity, such as when Monika Fludernik locates narrativity and poeticity at opposite ends of a spectrum by suggesting that the point where ‘narrativity can no longer be recuperated by any means’ is where ‘the narrative genre merges with poetry’. Similarly, while critiquing Fludernik’s proposition that experientiality be considered the bedrock of narrativity, Alber inadvertently predicates his argument upon the charge that natural narratology allows ‘almost every poem [to qualify] as a narrative’. Instead of the model according to which poeticity and narrativity are two polar opposites at the ends of a spectrum, I propose that we reconceptualise them as two axes upon which literature might be iterated instead, with varying degrees of poeticity and narrativity present in any given text at any one time.

NEW ASPECTS OF NARRATOLOGY: INTERPRETATION OF ESSAYISTIC TEXT

НОВІ АСПЕКТИ НАРАТОЛОГІЇ: ІНТЕРПРЕТАЦІЯ ЕСЕЇСТИЧНОГО ТЕКСТУ

Author(s): Tetiana Shevchenko / Language(s): Ukrainian / Issue: 01/2020

Keywords: essay; narrative; exogynarrator; author; discursive practice

The articleʼs relevance lies in the need to understand the peculiarities of narrativityin essays. The article is written within the scope of narratology as one of the most relevant disciplinesin modern philology, narrative approach to communicative strategies in essay is used. The articleʼsgoal is to introduce and argumentate the concept “exogynarrator”, narrative instance in essay as adiscursive practice. As a result of the research, it is concluded that ‘narrator’ as a traditional categoryin epic works, can be applied to a writerʼs essay conventionally: in the essay there is no actual storyor narration, etc., except that it may be possible if narration turns into mediatation. It is proven thatthe process of meditation and the process of narration in an essay become a single entitiy. The bearerof these actions is the narrator, who in the essay acquires features of a thinker or turns into him. Theintroduced concept is illustrated based on the essays written by Ukrainian author S. Protsiuk.

“What is it, your narratology?” Interview with Valery Tyupa

«Что же она такое, ваша нарратология?» Разговор с проф. Валерием Тюпой

Author(s): Agnieszka Ścibior,Valery Tyupa / Language(s): Russian / Issue: 170/2020

Keywords: Valery Igorevich Tyupa; contemporary narratology; (post) Bakhtin school; rhetoric; comparative narratology;

Valery Igorevich Tyupa (born in 1945) — one of the most outstanding Russian literary theorists and the most important narrative theorists in the world, author of over three hundred and ninety scientific publications in the field of literary theory, communication theory and discourse analysis, comparative studies, narratology, aesthetics, rhetoric, professor at the Russian State University of Humanities in Moscow (RGGU). In Tyupa’s scientific interests, two main problem areas are clearly outlined. The first concerns the aesthetics of literature, the second — narratology. The interview with the researcher was devoted to the latter. Tyupa explains what contemporary narratology is and why it is needed; he talks, among others, about the relationships between narratology and rhetoric, about the prospects for the development of comparative narratology, and about the project of creating historical narratology.

„Intermission“ theory and modern narratology

Теорията за „антракта“ и съвременната наратология

Author(s): Alexander Panov / Language(s): Bulgarian / Issue: 1/2022

Keywords: dramaturgy; drama theory; narratology; intermission; composition; receiver

The article analyzes one of the key ideas of Prof. Atanas Natev in his attempt to create a systematic theory of drama, namely his theory of "intermission" as a basic constructive principle for building dramatic action and the specific way in which drama affects the perceiver. The theory of "intermission" is compared with the ideas of the emerging at the same time literary discipline "narratology", the work of the structuralist trend in literary studies. This is necessary because narratology has given other explanations to some of the key ideas in the theory of "intermission". The main question that is asked in the article is whether in the seemingly devoid of the figure of the mediator dramatic composition, such does not exist, albeit only implicitly. Because drama, as well as the other two genres - lyric and epic -, need the fictional figure of the subject, which turns the amorphous structure of the "flow of life" into "history", and then into a carefully composed plot for the viewer to recreate in his mind during the performance, as the theory of the "intermission" states.

Virtual Roundtable : Why and what for diachronic narratology?

Virtuální kulatý stůl : Proč a k čemu diachronní naratologie?

Author(s): Matouš Jaluška,Alice Jedličková,Jiří Koten,Markéta Kulhánková / Language(s): Czech / Issue: 2/2021

Contemporary French and Francophone Narratology

Contemporary French and Francophone Narratology

Author(s): Bartosz Lutostański / Language(s): Polish / Issue: 4/2022

Keywords: Francophone Narratology; narratological areas; review;

Review of: Contemporary French and Francophone Narratology, red. John Pier, The Ohio State University Press, Columbus 2020, ss. 237