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Peter Barry

Telling stories This chapter is about narratology, which is the study of narrative structures. Narratology is a branch of structuralism, but it has achieved a certain independence from its parent, and this justifies it being given a chapter of its own. Also, because it takes much of its character and some of its terminology from linguistic theory, it seems logically to belong immediately after the chapter on stylistics. And because narratology is about stories, I will begin with one of my own. Some years ago I was in a restaurant called ‘Berties’. The menu

in Beginning theory (fourth edition)
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This is a full-length study of Jeanette Winterson's work as a whole, containing in-depth analyses of her eight novels and cross-references to her minor fictional and non-fictional works. It establishes the formal, thematic and ideological characteristics of the novels, and situates the writer within the general panorama of contemporary British fiction. Earlier critics usually approached Winterson exclusively either as a key lesbian novelist, or as a heavily experimental and ‘arty’ writer, whose works are unnecessarily difficult and meaningless. By contrast, this book provides a comprehensive, ‘vertical’ analysis of the novels. It combines the study of formal issues – such as narrative structure, point of view, perspective and the handling of narrative and story time – with the thematic analysis of character types, recurrent topoi, intertextual and generic allusions, etc., focused from various analytical perspectives: narratology, lesbian and feminist theory (especially Cixous and Kristeva), Freudian and Lacanian psychoanalysis, Jungian archetypal criticism, Tarot, Hermetic and Kabalistic symbolism, myth criticism, Newtonian and Post-Newtonian Physics, etc. Novels that read superficially, or appear simple and realistic, are revealed as complex linguistic artifacts with a convoluted structure and clogged with intertextual echoes of earlier writers and works. The conclusions show the inseparability of form and meaning (for example, the fact that all the novels have a spiralling structure reflects the depiction of self as fluid and of the world as a multiverse) and place Winterson within the trend of postmodernist British writers with a visionary outlook on art, such as Maureen Duffy, Marina Warner or Peter Ackroyd.

An introduction to literary and cultural theory
Series: Beginnings

Theory often eclipses the text, just as the moon's shadow obscures the sun in an eclipse, so that the text loses its own voice and begins to voice theory. This book provides summaries or descriptions of a number of important theoretical essays. It commences with an account of the 'liberal humanism' against which all newer critical approaches to literature, broadly speaking, define themselves. The book suggests a useful form of intensive reading, which breaks down the reading of a difficult chapter or article into five stages, as designated by the letters 'SQRRR': Survey, Question, Read, Recall, and Review. It explains the rise of English studies by indicating what higher education was like in England until the first quarter of the nineteenth century. The book talks about the Swiss linguist Ferdinand de Saussure, Roland Barthes, and Jacques Derrida. It lists some differences and distinctions between structuralism and post-structuralism under the four headings: origins, tone and style, attitude to language, and project. Providing a clear example of deconstructive practice, the book then describes three stages of the deconstructive process: the verbal, the textual, and the linguistic. It includes information on some important characteristics of literary modernism practiced by various writers, psychoanalytic criticism, feminist criticism and queer theory. The book presents an example of Marxist criticism, and discusses the overlap between cultural materialism and new historicism, specific differences between conventional close reading and stylistics and insights on narratology. It covers the story of literary theory through ten key events.

Eva von Contzen

Legendary can be usefully approached from the perspective of narrative theory, the central concern of which is the analysis of narrative as motivated structures. Although narratology has been firmly established as an influential field within literary studies at least since the 1960s, medieval studies have generally been reluctant, to say the least, to engage with the theories and methods developed by narratologists. There are good reasons why: in its early days, so-called classical narratology was an exclusively structuralist endeavour that focused on one genre in

in The Scottish Legendary

This is the first book-length study to intervene in both art-historical and narratological debates with a rigorous scholarly focus on nineteenth-century painting. The years roughly between 1830 and 1890 make up a moment in which European paintings spoke to a broad public in a way that was unprecedented and has probably not been achieved since, and narrative was a key ingredient in its appeal. The book defines narrative paintings as paintings that invite narrative responses. It analyses reviewers' language in detail, drawing on literary theory, and links reviews to close readings of selected paintings. The book draws on reception theory to argue that narrative meaning arises from an interaction between pictures and public. Story-telling critical reviews responded to story-telling paintings and addressed non-specialist audiences' delight in puzzling out a narrative. Paintings' non-perfomative technique, thought to appeal to connoisseurs, served narrative ends. Whereas earlier art had told stories through the body, nineteenth-century pictures shifted the focus onto inanimate objects. Narrativised objects became clues, and viewers reconstructed events from the material traces they had left. Case studies come from across Europe, with an emphasis on England, Scotland, Germany, France, Spain and Italy.

Alexander Spencer

pointed out: ‘so natural is the impulse to narrate, so inevitable is the form of narrative for any report of the ways things really happen, that narrativity could appear problematic only in a culture in which it was absent’ (White 1987: 1). Yet despite the continuing rise of discourse analytical approaches the concept of narrative is still viewed with some suspicion in large parts of political science and IR, as there is continued scepticism about how insights from literary studies and narratology are supposed to help answer important questions of (international

in Romantic narratives in international politics
Damian Walford Davies

love for him and she is poisoned by his wife, the notorious Frances Howard, Lady Essex. This Lady Essex is indistinguishable in her villainy from another Lady Essex encountered in the novel. The multiplying cast of depthless, exchangeable characters, combined with an infinitely extensible series of actants generated from a set that is incestuously closed by its finite number of names is no accident. The difficulty – and irrelevance – of knowing which Lady Essex this is reduces these ‘real’ historical characters to virtuality, as the text becomes more a narratology

in Counterfactual Romanticism
Nina Lübbren

Particularly inspiring for my own study are the ways in which Kemp combines narratology with reception theory. Kemp argues that Paul Delaroche and Gérôme rely on the contribution of the viewer to ‘complete’ the picture, to fill its ‘constitutive blanks’. The phrase ‘constitutive blanks’ ( Leerstellen ) directly echoes Iser’s places of indeterminacy ( Unbestimmtheitsstellen ) and Ingarden’s sites of

in Narrative painting in nineteenth-century Europe
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Bruce Woodcock

Here on the outposts of the American Empire … ( Bliss , 9) C AREY ’s first published novel capitalised on the success of his stories to exhilarating effect. Its anarchic narratology puzzled many reviewers, 1 but as Carey’s œuvre grows, its mix of satiric realism, fable, fantasy and manic cartoon quality seem entirely characteristic. After War Crimes was awarded the New South Wales Premier Award in 1980, Bliss received the same prize in 1982, as well as the Miles Franklin and the National Book Council

in Peter Carey
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Frame, form, and narratorial persona
Caitlin Flynn

and narratology. Across this chapter, two key aspects have been central to discussion: firstly, the genre and language of the poem were established as an essential marker of Dunbar’s process of prying apart conventions in order to recreate new forms. And secondly, the narrator’s role in framing and editorialising the speeches came under scrutiny. Regarding the first point, the demandes d’amour do not adhere to the typical expectations of the verse form as it is found in French or in other Scottish demandes

in The narrative grotesque in medieval Scottish poetry