Franz Stanzel Theory Of Narrative For Free Public Full

Structuralist narratology, broadly conceived, took two main directions: thematic versus modal; on the one hand, Propp, Bremond, Greimas among others were interested in semiotics while, on the other hand, others like Genette and Prince were concerned with the manner of telling a story, stressing categories such as voice, point of view, rhythm, changes to the chronol ogical order, etc.

Arleen Ionescu: Postclassical Narratology: Twenty Years Later.

Brian Richardson: Recent Work in Unnatural Narrative Studies.

Biwu Shang: Postclassical Narratology in China: Receptions and Variations.

Samuel Caleb Wee: Songs of Experientiality: Reconsidering the Relationship between Poeticity and Narrativity in Postclassical Narratology.

Charlotte Lindemann: Dialogue and the Limits of Narrative Discourse.

Xiaomeng Wan: Body as Resource of Narrative Communication: An Intersection of Corporeal Narratology with Rhetorical Narratology.

Vladimir Biti: Almost the Same but not Quite: Kafka and His Assignees.

Yili Tang: Character Narration and Fictionality in Julian Barness Flauberts Parrot.

Yuzhen Lin: A Comparative Perspective on Unnaturalness: A Review of Biwu Shangs Unnatural Narrative across Borders: Transnational and Comparative Perspectives.

Franz Stanzel Theory Of Narrative For Free Public Full

Fang Cai: A Discipline with Local Characteristics and a Global Perspective: Zhong Guo Xu Shi Xue Chinese Narratology Discover the worlds research 20 million members 135 million publications 700k research projects Join for free Public Full-text 1 Content uploaded by Arleen Ionescu Author content All content in this area was uploaded by Arleen Ionescu on Jan 03, 2020 Content may be subject to copyright.

IX 2019 5 34 Postclassical Narratology: Twenty Years Later Arleen Ionesc u Shanghai Jiao Tong Unive rsity E- mail: anionescusjt u.edu.cn 2019 marks twenty years since the concept of pos tclassical narratol ogy became widel y popularized, after the publication of David Hermans 1999 edited collection Narratologies: New Perspectives on Narrative Analysis, 1 and the editors of Word and Text felt that it deserved a special anniversary issue, the first two sections of which are concerned with G eneral Perspectives and Thematic Departures (followed by Readings and Reviews).

The aim of this wide -ranging Introduction 2 is to present a short history of narratology leading up to the postclassical turn in 1999 and beyond, as well as to engag e with the findings of the contributors to the General Perspectives, a section that mainly concentrates on the latest developments in narratology.

In t he second part, the focus will be on the geographical distribution of these contributions seen as a small - scale reflection of current scholar ly interest in postclassical narratology in different parts of the world.

The third, final part will briefly introduce the articles included in Thematic Departures and Readings.

In order to clarify how narratology emerged as a field, 3 one need s to t urn the clock back to the 1940s, a period wh en the first pre - structuralist theories of na rrative appeared, 4 then link it with developments in the late 1960s, when narratol ogy actually appeared.

Both French and German critics were the first to attempt defini ng narrati ve and time of narration as early as t he late 1940 s.

Stanzel too k a more philosophical stance in his construction of three prototypical narrative situations.

Between the 19 30s and the late 19 50s the Chicago School of literary criticism rediscovered Aristotles concepts of plot, character and genre, and championed neo - Aristotelianism as a critical method o f textual analys is.

In On the Foundation of a General Theory of Narrative Structure, Poetics 3 (1972): 5 - 14, Jens I hwe coined the term Narrativik (narrativics ), which howeve r never managed to replace Todor ovs narr atologie or its later English equivalent.

Franz K. Stanzel, Narrative Situ ations in the Novel: Tom Jones, Moby - Dick, The Amba ssadors, Ulysses, trans.

James P. Pus ack (Bloomington, IN: Indi ana University P ress, 1971 1955).

His two companion e dited books establ ished the method t hat the followe rs of the Chicago School were to adopt.

Steph en Heath (New York: Hill and Wa ng, 1977 orig.

Grard Genette, Narrative Discourse: An Essay in Method, trans.

Jane E. Lewin, Foreword J onathan Culler (Ithaca, NY: C ornell Universi ty Press, 1980 ori g.

Grard G enette, Palimpsests: Literature in the Second Degr e e, trans.

Channa Newman and Claude Doubinsky, Forewo rd Gerald Prince (Li ncoln, NE and London: University of Nebraska Press, 1997 orig.

Grard Genette, Narrative Disco urse Revisited, trans.

Jane E. Lewin (Ithaca, NY: Cornell Univer sity Press, 1988 ori g.

A. J. Greimas, Structural S emantics: An Attempt at a Method, trans.

Danielle McDowell, Ronald Schleifer and Alan Veli e (Lincoln, NE: Uni versity of Nebras ka Press, 1983 orig.

Tzvetan Todorov, Gramm aire du Dcamron (The Hag ue: Mouton, 1969), 10.

Todorov, 9. 17 Communications 8: Lanal yse structurale du rcit (1966).

The contributors to Lanalyse stru cturale du rcit also mentioned their indebtedness to Percy Lubbock s early work on point of view 21 and establish ed a general distinction between rcit (Bremond, Genette) or discours (T odorov), which refers to how a story is told, and histoire (plot or fabula ), whi ch refers to wh at is told.

Looking for a similar formal system applicable to any narrativ e content, Claude Bremonds work on the rcit put forward a n abstract story grammar.

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