Page numbers refer to the print edition.
Page numbers in italics indicate illustrations.
accessibility relation, 146
actants, 54–61, 55, 63, 315n23
actions: and actants, 58; and borderlines, 63; of characters, 207; and events, 57–58; and setting, 60
actual world, 146, 154, 156, 157, 161–62, 337n197
Adorno, Theodor, 74–75
The Adventures of Huckleberry Finn (Twain), 171
affect theory, 240–41, 356n500
agents. See figures
Altes, Liesbeth Korthals, 206–7, 211–12, 266
Ambiguous Discourse (Mezei), 226
anachrony, 70
analogy, characterization through, 74–75
ancient Greek narrative, 138–39
anthropological narratology, 113–14
anthropomorphism, 18, 76, 88, 227, 228, 320n106
anxiety of authorship, 227
anxiety of influence, 227
Arcadia (Sidney), 142
arthrology, 128–30
artificial intelligence, 115, 181, 186, 328n58
Asbestemming (van der Heijden), 30
attribution theory, 195
author: dramatized, 21, 22, 310n32; empirical, 17, 18; female, 225–28, 234, 235, 237; and gender, 226–27; and ideology, 21; and narrator, 16–20, 96; and reader, 339n228; role of, 321n122
authorial audience, 171, 172, 173
autodiegetic narrator, 92, 93, 233
axiological modality, 151–52, 159
Bakhtin, Mikhail, 60, 105, 136, 174, 208, 261, 273
Bal, Mieke, 315n27; and characterization, 75–76, 317n66, 317n69; and Genette, 77, 318n80, 318n82; Lethal Love, 231; narratology of, 260, 360n581; and point of view, 312n50; sliding scale of, 66; terms used by, 47, 47; and visibility vs. presence, 20
Barthes, Roland, 42, 44, 46, 49–51, 61, 116, 206, 329n673
Beloved (Morrison), 269
Bhabha, Homi, 248, 269–70, 280
biblical stories, 231
bildungsroman, 235
Bint (Bordewijk), 75
bipolar scales, 62
Bleeding Edge (Pynchon), 263
blending theory, 203–4
Boon, Louis Paul: Chapel Road, 89; Minuet, 83
Booth, Wayne, 16–17, 19, 20–21, 213–14, 218, 219
Bourdieu, Pierre, 221, 256, 257, 258, 263, 264, 265–66, 317n68
Brakman, Willem: Ansichen uit Amerika, 74; Der sloop der dingen, 150; Een weekend in Oostende, 32, 33, 78–79, 91
Bremond’s systematization, 54–55, 313n3, 336n181
Brewer, Mária, 225, 236, 354n478
canonization process, 234, 235
Caracciolo, Marco, 200–202, 345n336
cardinal functions, 49–53
categorization and personalization, 190–91
Challenging Canada (Helms), 261
Chambers, Ross, 169–70, 219, 348n394
characterization: about, 47, 65; through analogy, 74–75; criteria for, 55; direct, 73–74; and hero concept, 75–76; indirect, 74; intratextual, 155, 156; metonymical and metaphorical, 75, 317n71; problems with, 75–76; reliability of, 74; three-dimensional, 59
characters: and actants, 58; actions of, 207; analysis of, 153, 156; and attribution theory, 195; authoritative position of, 160; categorization of, 190–91; and comics, 132–33; components of, 172–73; consciousness of, 26, 27, 31, 104–6; construction of, 190–92, 195; de-categorization of, 191, 192; determining richness of, 59; dimension of, 154–56; flat and round, 58, 156; and focalization, 80; and gender, 230–32; ideology of, 28; as an individual, 153–55; intertextual, 155, 156; male and female, 230; and narrator, 4–6, 24–26, 28; in “Pegasian,” 4–6, 74–75; and possible world theory, 153, 156; recognition of, 154; representation of, 72–73; singularity of, 155; and space and time, 153–54; and their thoughts, 24; unified whole type, 155
Chatman, Seymour: and description, 183; and implied author, 17–18, 308n11; and monologue, 107–8, 323n147; and nonnarrated representation, 20, 21–22, 309n23; and senders and receivers, 310n32; story according to, 61, 61; and syntagmatic reading, 59
chronoschism, 282
chronotopes, 59–60, 273, 315n35, 316n36
Ciccoricco, David, 327n53
circulation. See narrative circulation
“City” (Wasco): about, 2, 13, 16; attribution of value to, 213; character construction in, 191–92; and focalization, 81, 204; illustrations related to, 305; and intermedial references, 118; mental model of, 168–69; and narrative ethics, 212–13; and narratology, 244–46, 252–54; otherness in, 252, 253; progress in, 130; as science fiction narrative, 299–300; setting in, 64; storyworld of, 166–69; and storyworld possible selves, 204–5; as strange and usual, 135; walkways, 167. See also comics; panels
Cixous, Hélène, 239
classical narratology: about, 111–12; and diachronic narratology, 135–37; and Greek literature, 138–39; limitation of, 112; and medieval narrative, 139–40; and narrative structure, 152–53; and postmodern narratology, 289–90; and textual narratives, 116; traces of, 289. See also structuralist narratology
cognition and comics, 133–34
cognitive narratology: about, 112, 178; and attribution theory, 195; and character’s construction, 190–92; and empathy, 198–99; and fictional minds, 192–95; and 4E cognition, 199–200; and frame theory, 181–85; and reader, 178; and reception theory, 178–81; and scripts, 185–90; second-generation, 200–201; and theory of mind concept, 196–98; and thought-action continuum, 195–96
cognitive processes, 133, 200, 211
Cohn, Dorrit, 108, 319n88, 323n145; and consciousness representation, 24–25, 29–32, 99, 136, 141; and quoted monologue, 26, 107, 202; on Stanzel, 38–39, 39, 40; and uniqueness of fiction, 175–76
comics: and characters, 132–33; and classical concepts, 130–33; cognitive approach to, 133–34; and continuity and disparity, 127; experimental, 331nn77–78; and focalization, 130–31, 134; images in comics, 126–27, 132; and language, 332n85; and media, 124–30; and narration, 131, 132; narratology of, 124–30; and narrator, 130–31, 134; and neo-semiotic approach, 125–26; and reader, 125; spatiotemporal rules, 129–30; and Tintin and Snowy, 134–35
communal voice, 233–34
communication: contextual, 112; ethical, 215; intratextual, 112; literary, 22, 22–23, 123, 165, 228, 311n40; and media, 117; model, 264–65; narrative, 16–17, 117, 120, 169; real-time textual, 124; and sender, message, and receiver, 178; text as a form of, 16, 170, 210
communicative approaches, 169–70
The Company We Keep (Booth), 213
compound discourse, 289
computational narratology, 115–16
computer games, 120, 122, 123, 330n74
concrete text. See text
connections: and events, 12; and plot, 13; temporal and causal, 13
consciousness: of character, 26, 27, 31, 104–6; literal, 26; of narrator, 26; and speech, 24–31; third-person, 25
consciousness-enactment, 202
consciousness representation, 24, 29, 87, 99–104, 207, 323n143
constructivist alternative, 102–3
Contemporary Comics Storytelling (Kukkonen), 133
context: first-person, 25, 29, 30; and ideology, 8–9; literary, 9; and media, 118–19; and narratology, 112, 221; and reader, 9–10; third-person, 25–26, 29–30, 32, 35, 108
conversations, development of, 188–89
The Craft of Fiction (Lubbock), 15
cross-dressing, 234–35
cultural analysis, 260, 360n581
cultural materials, 263, 264, 272
cultural narratology: about, 254–55; and circulation, 270–76; and communication model, 264–65; defined, 262; and force, 262–63; and ideology, 261–62; and negotiation, 263–70; overview of, 258; and psychology, 260; and society, 259–60; and structuralism, 260
cultural stereotypes, 112, 234, 261, 263, 315n28
cultural templates, 257, 258, 263, 272–76
The Cure Within (Harrington), 257
Currie, Mark, 255, 279–80, 281, 289, 369n722
cybernarratology, 120–24
Cybertext Poetics (Eskelinen), 123
David Copperfield (Dickens), 144
Dead Poets Society movie, 273
Death in Venice (Mann), 25
de-categorization of characters, 191, 192
deceleration, 67–68
deep structures, 43–44, 46–47, 53, 75, 102, 255
deictic shift theory, 164, 338n211
de Lauretis, Teresa, 225, 237–39
Deleuze, Gilles, 116
de Man, Paul, 281
deontic modality, 151, 159, 161
Derrida, Jacques, 116, 255, 281, 368n703, 368n705
desire: and difference, 238–39; female, 231, 355n494; and gender, 237–38; male, 231–32, 238–39, 243–45, 354n478
diachronic analysis, 187–88
diachronic narratology, 112, 135–37, 141, 143–44, 293, 371n748
diegesis, transition from mimesis to, 15–16
diegetic representation, 99, 104
diegetic summary, 32, 100, 101
digital texts, 120, 122, 123, 328n55
direct characterization, 73–74
direction and primary narrative, 69–70
direct speech, 27, 99, 100, 322n132
The Distinction of Fiction (Cohn), 175
Don Quixote (Cervantes), 187
double identification, 238, 239
dramatized author, 21, 22, 310n32
dramatized narrator, 19, 310n32
drawn strips. See comics
dual hermeneutic, 229, 353n447
dual voice, 105–6
duration, 14, 15, 65–66, 66, 68–69
dynamic reading, 174–75
Eco, Umberto, 42, 53, 147, 154, 320n101
Eliot, George, 227, 234; Middlemarch, 194
The Emergence of Mind (Herman), 141, 142
Empathy and the Novel (Keen), 198
empirical narratology, 114–15
Engendering the Subject (Robinson), 222, 231
ergodic literature, 120, 123, 329n59
ethical positioning, 219, 349n398
ethos and narrative ethics, 211–12, 216
Ethos and Narrative Interpretation: The Negotiation of Values in Fiction (Korthals), 211
events: and actants, 54–59, 55; and actions, 48, 57–58; and connections, 12; and duration, 65–66, 66, 68–69; frequency of, 71; horizontal progress of, 49; memory related to, 70–71; and motifs, 48–49; in “Pegasian,” 12–13; and reality, 14; sequence of, 12; and story, 61; systematization of, 52–53; and time and place, 59–60
Everything Is Illuminated (Foer), 269
evocation of mind, 142, 143, 144
experientiality: about, 137, 201; basic feature of, 292; and narrativization, 291; treatment of, 345n336
externalist perspective, 193
extradiegetic narrator, 88–91, 93, 96, 98, 106, 218
extratextual characterization, 155
Een fabelachtig uitzicht (IJlander), 72, 157
Fables comics, 133
female authors, 225–28, 234, 235, 237
femininity, 225–26, 232, 234–35, 237, 239
feminist and queer narratology: about, 112, 136; and ambiguity, 225–26; and “City,” 244–46; and contextual factors, 221–22; and cross-dressing, 234–35; and desire, 238–40; and gender, 226–38; and humankind and reality, 227–28; and intersectionality, 222–24; and “The Map,” 243–44; and narrative analysis, 223, 225; and narrative theory, 220, 221, 229; and “Pegasian,” 241–43; as pluralist bricolage, 223–24; shifts in, 222
Ferron, Louis: De keisnijder van Fichenwald, 147, 157; De Walsenkoning, 84
fictionality: about, 134, 147; defined, 177–78; and rhetoric, 175–78; “signposts” of, 176; and truth, 148–49
fictional world: about, 19, 32, 33, 35; broadening, 145–69; building blocks of, 150–52; and storyworld concept, 113; and supernatural world, 150–51; on textual level, 62
Fictions of Authority (Lanser), 221
figures: about, 3–4, 6–7; active and passive, 55; and amount of action, 58; background, 155; dependency between ground and, 164; and point of view theory, 32. See also characters
figures of speech, 216, 217, 219
first-person context, 25, 29, 30
first-person narrator: about, 2; and consciousness representation, 29, 30; of “The Map,” 3, 25, 143, 161–62, 182, 243
Fishnet (Sundt), 230
Flaubert, Gustave, 28, 144, 297
Fludernik, Monika, 220; and diachronic narratology, 136–37; and natural narratology, 290–98; and postcolonial narratology, 247; and typification, 103, 105–6
focalization: and characters, 80; and “City,” 81, 204; and comics, 130–31, 134; description of, 65, 77; detached or empathic, 84; external and internal, 78–81, 158, 232, 318n82; and focalizer and focalized object, 77–78, 80; hypothetical, 157–58; and linguistic features, 86; multiple, 81, 82, 189, 205; and narration, 243–44, 319n96; and narrative theory, 77–78; panchronic, 83; panoramic, 82, 83; and “Pegasian,” 81; and perceptions, 319n98; and possible world theory, 157; properties of, 82–87; and reader, 84; retrospective, 83; simultaneous, 82, 83; and stability, 81–82; and style, 86; subject and object of, 318n81; synchronic, 83; temporal and spatial, 83; textual indications of, 85–87; types of, 78–80; variable, 81, 159, 218
Forster, E. M., 11, 12, 13, 43, 47, 58
frames of reference. See pragmatics; rhetorics
frame theory: and free indirect speech, 183–85; and narratology, 181; and text, 182–83; and third-person narrator, 182–83; and unreliable narrator, 181–82
free direct discourse, 102, 105, 106
free indirect discourse, 102, 105, 106, 136, 149
free indirect speech: about, 5–6; and empathy, 185; and fictional texts, 176; and frame theory, 183–85; and narrated monologue, 27, 100; and narrative ethics, 218; and narratology, 116; and self-narration, 30–31; sentences as, 27, 31, 105, 183–84; two versions of, 185; understanding of, 185
frequency, 65, 71, 72, 124, 132
Freud, Sigmund, 238
“From a View to a Kill” (Fleming), 51–53, 55, 57, 60, 72, 84–85
Frye, Northrup, 324n11
functions: about, 8, 46; cardinal, 49–53; description of, 49; pivotal, 54; sequence of, 50–54; types of, 49–50
gender: and author, 226–27; and character, 230–32; conventions, 76, 298, 300; and desire, 237–38; and genre, 235–36; and narratee, 234; and narration, 232, 356n502; and narrative processes, 222; and plot, 236–37; and reader, 228–30, 244–46
Gendered Interventions (Warhol), 234
Genette, Gerard, 116; and auteur induit, 17; and Bal, 77; and Cohn, 107, 323nn145–46; and focalization, 77, 81, 110, 130, 205, 318n82; and implied author, 18, 309n18; and levels of text, 43; and narrators, 88, 89, 90, 92, 93, 94, 108, 130, 323n148; and palimpsests, 121; and quoted monologue, 106–7, 323n143; and time, 65–72, 206; terms used by, 47, 47; and visibility vs. presence, 20
genres: about, 13, 16; and chronotopes, 60; conventions, 76, 235, 298, 300; and gender, 235–36; narrative, 125, 138; polyphonous, 208; and scripts, 187–88
De Geruchten (Claus), 33
Gibson, Andrew, 280, 282, 289, 290, 369–70n726
Gibson, Walker, 21
Girard, René, 113
give and take process, 269
Gonne, Maud, 187
grammatical procedures, 99, 100, 105
graphic novel. See comics
Greek literature, 138–39
Greek romance, 60
Greenblatt, Stephen, 258, 263–64, 266
Greimas’s actantial model, 55, 55–57
Greimas’s semiotic square, 44, 44–46, 45, 119, 120
Groensteen, Thierry, 125–26, 127–28, 129, 130, 133, 331n78, 331n80, 331n84
Hamlet on the Holodeck (Murray), 123
Hamon, Philippe, 73, 76, 206, 346n354
Haroun and the Sea of Stories (Rushdie), 157
Harvey, David, 286
Herman, David: Basic Elements of Narrative, 337–38n205; and cognitive narratology, 180, 185; Emergence of Mind, 141–42, 143; and focalization, 157–58; and narrative circulation, 271, 272; Narratologies, 111; and negotiation, 268, 269; and possible worlds, 147; and scripts, 185–87; and socio-narratology, 255; and storyworld, 113, 162–65, 169, 338nn211–12
hermeneutics, 115, 206, 211, 216
hero concept, 75–76
“Het lek in de eeuwigheid” (Hermans), 62
hierarchy: advantages of, 93; of levels, 90–91; problems with, 93–94
historical contextualism, 205, 249, 262
homodiegesis, 323n146, 349nn399–400
Hunger (Hamsun), 323n143
hyperframe, 127
hypertext, 120–23, 147, 230, 329n64
hypothetical focalization, 157–58
identity and alterity issues, 247, 357–58n529
identity construction, 246, 248, 252, 259
ideology: of author and reader, 21; of character, 28; and context, 8–9; and narrative, 261–62; of narrator, 28, 207; in “Pegasian,” 8–9, 85; in perception, 84–85; and structuralism, 205–6. See also postclassical narratology
I-figures, 3–4, 7, 24, 30, 31, 37
immersion concept, 122–23, 179, 180, 330n74
implied author, 17–19, 22, 96, 171, 207
implied reader, 20, 21, 179, 309n18
impossible worlds, 146, 149, 151
Indiana Jones and the Last Crusade movie, 275
indirect characterization, 74
indirect content paraphrase, 100, 101
indirect discourse, 101–2, 104
individuality and character, 153–55
informative indexes, 50, 52, 61
interactivity concept, 119, 122
intermedial narratology, 116–35
interpretation: inside or outside, 7–8; and narration, 3–4; and narratology, 7–8; by reader, 12
intertextual character, 155, 156
intradiegetic narrator, 88–93, 96, 98, 108
intratextual characterization, 155, 156
Irigaray, Luce, 228
iteration, 71–72
Jahn, Manfred, 181, 182–84, 343nn278–80
James, Henry, 15, 308n8; The Ambassadors, 143; “The Art of Fiction,” 15, 308n8; The Portrait of a Lady, 141, 193
Jauss, Hans Robert, 178–79
Johnson, Mark, 201
Jongstra, Atte: Groente, 68–69; Het huis M., 147
Jouve, Vincent, 207–8
Joyce, James, 193; Finnegans Wake, 69; A Portrait of the Artist as a Young Man, 143; Ulysses, 2, 26, 39, 58, 102, 107–8, 141, 293, 323n147
JR (Gaddis), 34
Juhl, Peter, 18
Kafka, Franz, 9, 74–75, 134–35
Karel ende Elgast, 63
Krol, Gerrit. See “The Map”
Kukkonen, Karin, 125, 129, 133–34, 201, 331n78
Lakoff, George, 201
Landa, José Angel García, 13
language: and comics, 332n85; hybrid, 105, 106; narratives, 239–40; of narratology, 240; processing, 114, 180
Lanier, Jaron, 121
Lanser, Susan, 311n40, 336n174; and feminist narratology, 221–28, 232–33, 237, 246, 350n408; and status of narrator, 96–97, 322n125
Leclerc, Annie, 354n478
less purely diegetic summary, 100, 101
Lethal Love (Bal), 231
Lévy, Pierre, 336n173
literary communication, 22, 22–23, 123, 165, 228, 311n40
literary narratives. See narratives
literary prose, 1, 2, 10, 16, 21
literary texts. See text
literary theory, 121, 181, 225, 227, 228, 329n61
The Logic of Literature (Hamburger), 176
The Lord of the Rings movie, 275
Lubbock, Percy, 15
ludology, 123–24
Lyotard, Jean-François, 286, 365n666
Madame Bovary (Flaubert), 28
The Madwoman in the Attic (Gilbert and Gubar), 226, 227
male desire, 231–32, 238–39, 243–45, 354n478
“The Map” (Krol): about, 1; analepsis in, 71; conversation related to, 303–4; diegetic element, 15; events in, 12; first-person narrator of, 3, 25, 143, 161–62, 182, 243; and focalization, 81; ideology in, 8; I-figure in, 31; I-narrator in, 29, 92; and inside or outside the story, 6–7; and narrative ethics, 218–19; and narratology, 243–44, 281–82, 288–89, 294–95; and negotiation and circulation, 275–76; and possible world theory, 161–62; and scripts, 189–90; and social minds, 194–95; and synthetic and dynamic reading, 174–75; time and space in, 63–64; and time scales, 283; unreliable narrator in, 182
Margolin, Uri, 75, 153–54, 155, 337n192
Martin, Mary Patricia, 219
Martin, Wallace, 310n32
Martínez, María-Ángeles, 181, 203–4
Max Havelaar (Multatuli), 67
McHale, Brian, 100–102
media: about, 116–17; and comics, 124–30; and communication, 117; and context, 118–19; description of, 117; dimensions in, 117, 125, 126; and intermedial references, 118; and multimodality, 117–18
medieval narrative, 84, 139–40
metaphor and metonymy, 74, 75, 287, 317n71
Middle English formula, 137
Mikkonen, Kai, 131–32, 133, 333n108
Miller, Ann, 333n109
Miller, J. Hillis, 215–16, 217, 218, 348n394, 368n703
Miller, Nancy, 225, 230–31, 240, 352n439, 352n441, 355n495
A Million Little Pieces (Frey), 203
Milton, John, 12
mimesis: components of, 262–63; and consciousness representation, 100; description of, 228; to diegesis, 15–16; reality evoked by, 14; text as, 228
mimetic authority, 97
mimetic representation, 14, 16, 20, 34, 99, 136
minimal departure principle, 164, 340n250
minimal story concept, 13, 14, 90, 186
Minsky, Marvin, 181
mock reader, 20, 21, 22, 310n32
modality: alethic, 150–51; deontic, 151; epistemic, 152; and fictional character, 153; interaction between, 152; and plot, 152–53; and possible world theory, 149–52
model reader, 165, 169, 310n32
modernism, 38, 136, 137, 143, 151–52, 221
monologue: in first person, 27; narrated, 27, 28, 100; quoted, 106–8, 202; self-narrated, 30–31; self-quoted, 30, 37, 107
monstrous time aspects, 282–84
Mrs. Dalloway (Woolf), 143, 196–97
Mulisch, Harry, 82; Voer Voor psychologen, 29–30, 86; “Zelfportret met tulbrand,” 94
Müller, Günther, 66
Müller-Funk, Wolfgang, 259–60
multimodality, 117, 118, 124, 328n55
multiple focalization, 81, 82, 189, 205
Mutsaers, Charlotte. See “Pegasian”
narrated time, 65, 66, 66–69, 128, 132
narratee: dramatized or undramatized, 21; extradiegetic and intradiegetic, 88–89; and gender, 234; for text, 21–22, 22
narration: about, 1; and comics, 131, 132; description of, 43; figural, 39; first-person, 37, 39, 40, 80, 106, 217; and focalization, 243–44, 319n96; and gender, 232, 356n502; and interpretation, 3–4; level of, 249; and narratology, 286–87; and perception, 3, 34–35; and plot, 47; polyphonous, 242; properties of, 94–96, 98–99; simultaneous, 94, 95, 98, 244; subsequent, 94; third-person, 39, 40, 80; time of, 65, 66, 68; unreliable, 173. See also structuralism
narrative analysis: and comics, 125; crucial problem of, 24; description of, 162; main parts of, 64–87, 65; and narrative process, 276; and narratology, 47, 201, 223, 225; postcolonial, 252; and temporal framework, 282
narrative audience, 173, 339n233
narrative circulation: description of, 270–71; first meaning of, 271–72; and “The Map,” 275–76; model of, 271–72; and negotiation, 263–65; and “Pegasian,” 273–75; second meaning of, 272–73; theories on, 270; third meaning of, 273
narrative communication, 16–17, 22, 117, 120, 169
narrative communities, 256, 259
Narrative Discourse Revisited (Genette), 106, 107
narrative ethics: about, 112, 180; and “City,” 212–13; and free indirect speech, 218; and “The Map,” 218–19; and morality, 216–17; and “Pegasian,” 217–18; and unreliability, 219–20
Narrative Ethics (Newton), 214
narrative forms, 111, 116, 136, 138
narrative habitus concept, 255–56, 265, 266, 268, 271
narrative microdesigns and macrodesigns, 163, 164, 165
narrative negotiation: about, 257–58; and circulation, 263–65; cognitive forms of, 268; and conflict resolution, 267; defined, 263, 266, 270; first meaning of, 267–68; between habitus and field, 265, 266; ICT version of, 364n653; and “The Map,” 275–76; and “Pegasian,” 273–75; second meaning of, 268–69; theories on, 265–66; third meaning of, 269–70
Narrative Negotiations (Veel), 270
narrative processes: about, 112, 114; and character construction, 190; and conflict resolution, 267; and gender issues, 222; and narratology, 279–90; and nature and culture, 278–79; and storytelling, 277–78
narrative production, 23, 264, 266
narratives: about, 1, 8, 24; antimimetic, 296, 298, 299; communicative situation of, 22; comprehension, 114, 180; and consciousness representation, 87; and constructivist theories, 341n263; defined, 11, 13; development of, 152, 231, 238, 336n181; dominant, 272; dual nature of, 299; empirical study of, 114–15; and force, 262–63; ideal, 53; and ideology, 261–62; language, 239–40; medieval, 84, 139–40; mimetic representation of, 14; and narratology, 114, 115, 136; and narrator problem, 2; and nature, 278–79; “othering,” 247–48; plot-driven, 13; primary, 69–70; and psychology, 260; purpose of, 43; reader’s engagement with, 181; and sender, message, and receiver, 170–72; and society and culture, 259–60; space of, 82–83; and story and narration, 292; structure of, 152–53; textual, 116; and thought-action continuum, 195–96; and unnatural elements, 295–97; unreliable, 233–34. See also structuralism; text
narrative situations: authorial, 34, 36; basic types of, 34, 36; and empathy, 199; figural, 34, 36; first-person, 34, 36, 162; and narrating agent, 98; scales representing, 35, 37
narrative techniques, 169–70, 198–99, 209, 222, 262, 348–49n394
narrative templates, 239, 254, 257–59, 263, 274, 275
narrative theory: about, 1; challenges to, 24; and contradictions, 110; and cybertext, 329n59; and empathy, 198; and focalization, 77–78; gender-conscious, 222; and historical contrasts, 140–41; and narrative form, 136; and narratology, 10, 220–21, 229, 247–48, 255, 259; on negotiation, 263, 266, 268, 269; problems related to, 111; and reader and context, 9–10; and storytelling, 278
narrativization, 291–93, 371n745
A Narratological Commentary on the “Odyssey” (De Jong), 138
Narratologies (Herman), 111
narratology: anthropological, 113–14; article about, 42; cognitive, 178–205; of comics, 124–30; computational, 115–16; and context, 112, 221; criticism of, 110; cultural, 258–76; defined, 1; diachronic, 112, 135–37, 141, 143; empirical, 114–15; feminist, 136; intermedial, 116–35; and interpretation, 7–8; language of, 240; and ludology, 123–24; natural, 290–95; postcolonial, 246–54; postmodern, 289–90; psychoanalytical, 114; and reader, 179; rhetorical, 112, 170–78; social, 254–58; and story’s content, 7–8; traditional, 6, 8, 9, 122, 154, 236; unnatural, 295–300. See also feminist and queer narratology; structuralist narratology
The Narratology of Comic Art (Mikkonen), 132
narrator: and author, 16–20, 96; autodiegetic, 92, 93, 233; and character, 4–6, 24–26, 28; and comics, 130–31, 134; and consciousness representation, 87, 101, 104, 144, 207; covert and overt, 20, 95; and diegesis, 15; dramatized, 19, 310n32; extradiegetic, 88–91, 93, 96, 98, 106, 218; as friends, 213–14; heterodiegetic, 91–92, 96, 106, 108, 354n464; homodiegetic, 91–92, 108; ideology of, 28, 207; intradiegetic, 88–93, 96, 98, 108; invisible, 95, 108; involvement of, 91–92; male and female, 233; metaphorical nature, 120; and narrating, 87; omniscient, 3, 25–26, 32–33, 74, 158, 175; and reader, 15, 20–23, 22; recognizing, 98; reliability of, 17, 20–21, 95–96, 217; scope of, 2–3; status of, 96–97; third-person, 2, 39, 80, 108, 182–84; and typification concept, 103, 105–6; undramatized, 19, 20, 22, 310n32; unreliable, 158, 181–82, 219; visibility vs. presence of, 20, 95
Narrators and Focalizers: The Presentation of the Story in the “Iliad” (De Jong), 138
natural narrative, 23
natural narratology, 290–95
nature narratives, 278–79
neo-semiotic approach, 125–26
Nightwood (Barnes), 187
nonfictional texts, 136, 149, 165, 175, 176
novel: about, 1–4; and characters’ consciousness, 31; dramatic mode, 34; mimetic and diegetic elements, 15, 16; “multimodal,” 117; as a polyphonous genre, 208. See also fictional world
Nünning, Ansgar, 18, 181, 256, 262–63, 273, 321n122
ocularization, 131
Oedipus complex, 114, 206, 245
omniscient narration, 80, 320n99
omniscient narrator, 3, 25–26, 32–33, 74, 158, 175
Onega, Susana, 13
100 Bullets, 134
O’Neill, Patrick, 289
order: determining, 69; and distance, 70; and reach, 70–71
Orlando (Woolf), 137
outfielder problem, 199–200
overdetermination, 221–22
Page, Ruth, 117, 224, 230, 237, 269
panels: about, 16, 64, 81; arthrology, 128–30; “City,” 338n219; in comics, 126–27; and hyperframe, 127; spatio-topical, 128–29
Paradise Lost (Milton), 12
Paradise Regained (Milton), 12
Pascal, Roy, 323n139
pause and deceleration, 67–68
“Pegasian” (Mutsaers): about, 1; and actantial model, 56, 57; central metaphor in, 287–88; character in, 4–6, 74–75; conversation related to, 301; events in, 12–13; evocation of mind in, 144; and focalization, 81; ideology in, 8–9, 85; and inside or outside the story, 6–7; mimetic elements of, 15; and narrative ethics, 217–18; and narratology, 241–43, 250–52, 281, 287–88, 293–94; narrator’s invisibility in, 184–85; and negotiation and circulation, 273–75; and possible world theory, 158–61; and scripts, 188–89; sequences in, 53; theory of mind concept in, 197–98; time and space in, 63
perception: agent of, 38; cognitive aspects of, 83–84; ideology in, 84–85; and narration, 3, 34–35; object and subject of, 77; spatiotemporal, 82; and speech, 31–41
perceptions: and focalization, 319n98; of riding master, 77, 81
perspective scale, 35, 36, 37, 38
Phelan, James: and narrative ethics, 219, 349–50n394, 350n398; and rhetorical narratology, 170, 171–73, 174, 177, 178, 210
Picard, Michel, 208
plot: Bildung, 236; and connections, 13; female, 237; and gender, 236–37; Jane Austen’s, 236; and modality, 152–53; and narration, 47; and story, 11–14
Poe, Edgar Allan: “Berenice,” 287, “The Cask of Amontillado,” 89; “The Fall of the House of Usher,” 157; “The Masque of the Red Death,” 19, 92; “Metzengerstein,” 78; “The Tell-Tale Heart,” 295
poetic language fallacy, 23
poetics of location, 225
point of view theory, 32, 34, 199, 208, 312n50
possible world theory: about, 145; basics of, 145–47; and character, 153, 156; and focalization, 157; and “The Map,” 161–62; and modality, 149–52; and “Pegasian,” 158–61; and reader, 147; and real world, 147; and storyworld, 162–64; and textual elements, 289; and truth, 148; and virtual reality, 147–48
postclassical narratology: about, 22–23, 110–11; broadening conceptions of, 116–35; and communicative approaches, 169–205; and context, 112; and cultural narratology, 258–76; and cybernarratology, 120–23; discussion of, 112–16; and feminist narratology, 220–46; and fictional world, 145–69; and ideology, 205–76; and medium, 116–20; and narrative ethics, 205–20; and narrative process, 276–300; and postcolonial narratology, 246–54; and social narratology, 254–58; temporal range, 135–45
postcolonial narratology, 246–54
Postmodern Narrative Theory (Currie), 279
postmodern narratology: about, 180, 279; and classical narratology, 289–90; first characteristic of, 279–80; and “The Map,” 288–89; and monstrous imagery, 287; and monstrous paraphrase, 286–87; and monstrous space, 284–86; and monstrous time, 282–84; and “Pegasian,” 281, 287–88; and rejection of hierarchies, 280–81; and repetition, 368n703; second characteristic of, 280–82; and space and time, 284–85, 368n706; third characteristic of, 282
pragmatics, 148–49, 169–70, 209–10, 255, 269, 311n39
Pratt, Mary Louise, 23
primary narrative, 69–70
prolepsis, 69–70
Propp, Vladimir, 42, 53, 135, 313n3
psychoanalytical narratology, 114
psycho-narration, 25, 26, 29–30, 32, 80, 99
Punday, Daniel, 280, 283, 284–85, 286, 366–67n689, 367n690, 367n699, 368n714, 369n718
pure index, 50
Pygmalion (Shaw), 273
Pynchon, Thomas: Bleeding Eagle, 263; Gravity’s Rainbow, 206; V., 269
Pyramus and Thisbe story, 140–41
queer narratology. See feminist and queer narratology
Rabinowitz, Peter, 170, 171–72, 210–11
reach and order, 70–71
reader: and author, 17–18, 339n228; and blending theory, 203–4; and character’s components, 172–73; and cognitive paradigm, 179–81; and comics, 125; and context, 9–10; and empathy, 198–99, 203; and fictional minds, 141, 192–94, 196; and focalization, 84; and gender, 228–30, 244–46; and history, 296–97; ideal, 217; and ideology, 21; implied, 20, 21, 179, 309n18; importance of, 244–45; and interaction with text, 213; interpretations by, 12; levels of, 207–8; mock, 20, 21, 22, 310n32; and narratology, 178, 179; and narrator, 15, 20–23; and possible world theory, 147; postclassical, 209; and reception theory, 178–79; role of, 210; rules for, 171–72; and scripts, 187; and structuralism, 178; subjective, 180, 215; and textual indications, 97–98; and theory of mind concept, 197–98. See also text
reader-players, 122–23, 328n55, 330n74
reading: about, 1, 10; act of, 215, 216; as a conflict-solving negotiation, 267–68; ethics of, 213, 215, 220; male and female, 229, 230, 244, 353n448; quality of, 20–21; rules of, 210; strategies, 298; synthetic and dynamic, 174–75
realism, 122, 234, 296, 297, 299
reception aesthetics, 178, 179
reception theory, 178–79
reflectors, 35–39, 93, 292, 343n279
reliability: of characterization, 74; of narrator, 17, 20–21, 95–96, 217; and textual elements, 99
Remembrance of Things Past (Proust), 71, 135–36
repetition, 72, 104, 228, 283, 368n703
Rethinking Postmodernism(s) (Amian), 269
retrospective motivation, 140
rhetorical narratology, 112, 170–78
rhetorical processing framework, 180
The Rhetoric of Fiction (Booth), 16
Richardson, Brian, 268, 295, 296, 297, 298–99
Ricœur, Paul, 262
riding breeches, 144, 158–60, 241–42, 250–51, 287–88, 301
riding master: about, 5–6, 8–9; authoritarian attitude of, 160, 197, 241, 250–51; and female rider, 55, 144, 158–60, 197; and narrator, 26; perceptions of, 77, 81
Rimmon-Kenan, Shlomith, 12, 313n7; and characterization, 59, 73–75, 317n71; and focalization, 82, 83, 318n82, 319n98; and narrators, 20, 90, 95; and reader-oriented approaches, 179; and speech representation, 99; and temporal connections, 13–14; terms used by, 47, 47, 90, 95
Robinson, Sally, 222, 231, 235
Le Roi des aulnes (Tournier), 206
“A Rose for Emily” (Faulkner), 74
Ryan, Marie-Laure, 145; and immersion, 122, 329n63; and language, 116; and media, 119, 327n44; and possible world theory, 146, 148, 157, 164, 336n173; and virtual reality, 121, 328n58, 328–29n59, 329n64, 330n74, 336n173
scene shifts, history of, 137–38
Schweickart, Patrocinio, 229, 353n447
science fiction, 204, 212, 213, 296, 299, 300
scripts: activation of, 186–87; description of, 185–86; and genres, 187–88; liberation, 190; and “The Map,” 189–90; and “Pegasian,” 188–89; and sentences, 186; and story, 186. See also text
Searle, John, 148
Sedgewick, Eve Kosofsky, 240, 241, 356n501
selective omniscience, 33–34
self-schemas notion, 203
sender, message, and receiver, 18, 170–72, 177, 178, 264–65
sentences: and consciousness representation, 24, 27; as free indirect speech, 27, 31, 105, 183–84; and scripts, 186; and third-person narrator, 39
sequences, 50–53, 57, 64, 163, 175, 187
setting, 48; and actants, 61; and actions, 60; and chronotope, 59–60; in “City,” 64; defined, 61; spatial, 284, 285; of storyworld, 300
sexual orientation, 220
simultaneous focalization, 82, 83
simultaneous narration, 94, 95, 98, 244
singulatives, 71–72
social minds, 193–95
social narratology, 254–58
social reality, 121, 145, 146, 228, 280, 285
The Sound and the Fury (Faulkner), 143, 202
space and time: and borderlines, 63; and character, 153–54; defined, 165, 166; and events, 59–60; in “The Map,” 63–64; mental model of, 165–66; in “Pegasian,” 63; and postmodern narratology, 284–85, 368n706; “spatial models,” 166; and storyworld concept, 164–65; in text, 61–62, 286. See also setting
spatiotemporal rules, 129–30
speech: and confusion, 28; and consciousness, 24–31; direct and indirect, 27–28, 30; and perception, 31–41
speech act theory, 23, 96, 259, 311n40
stability and focalization, 81–82
Stanzel, Franz, 19, 313n55; double circle of, 37, 38–40; vs. Genette, 93, 312n50; and narrative gradations, 36–37, 40; and narrative situation, 34–35, 35
Sternberg, Meir, 198, 262, 322n132
story: as an abstract construct, 43, 47, 48; and actantial model, 55, 55–57; action of, 152; and characters’ consciousness, 31; and colonial oppression, 250; defined, 11, 12, 90; embedded, 90–91; and events, 61; and figures of speech, 216, 217, 219; and hierarchy of levels, 90–91; I-figures in, 3–4; and imagery, 287; inside or outside of, 6–7; minimal, 13, 14, 90, 186; and narrative and narration, 292; and narrative habitus concept, 256–57; and narratology, 113–14; and narrator and character, 4–6, 213–14; and plot, 11–14; Pyramus and Thisbe, 140–41; and reconstructed world, 61, 62; schematic representation of, 61; and scripts, 186; and sequences, 51; text as a, 186
Story and Discourse (Chatman), 20, 61
story-driven experience, 202
Storytelling: Bewitching the Modern Mind (Salmon), 277
storyworld: of “City,” 166–69; and conflict resolution, 267; defined, 113; description of, 162–63; and fictional world, 113; macrodesigns of, 163; and possible world theory, 162–64; reconstruction of, 163–64; setting of, 300; spatialization of, 164–65
storyworld possible selves, 181, 203–5
structuralism: about, 11; and author and narrator, 16–20; and binary relation, 40–41, 62; characteristics of, 42; and consciousness and speech, 24–31; and ideology, 205–6; and narratology, 255, 260; and narrator and reader, 20–23, 178; and perception and speech, 31–41; and story and plot, 11–14, 47–64; and telling and showing, 14–16
structuralist concepts, 54, 132, 292
structuralist narratology: about, 5, 10; classical, 22; conclusions about, 109; and deep structure components, 43–44; geological model, 46–47, 47; and hero concept, 76; and narrative theory, 10; and sender, message, and receiver, 18
Suikerpruimen (Beurskens), 79, 99–101
Sunken Red (Brouwers), 30, 71, 83
supernatural world, 150–51
synchronic analysis, 187–88
The System of Comics (Groensteen), 125
teacher-pupil relationship, 9, 12, 53, 160, 188, 274
teller-character pole, 35, 36, 37, 38, 93
telling and showing and structuralism, 14–16
text: about, 1, 2, 7–8; with acceleration or deceleration, 68; and actantial model, 57; analysis of, 212, 286; concrete, 43, 46, 47, 93; diegetic, 15; establishing ideology of, 85; ethical appeal of, 214, 218; features and effects, 342n269; and figures of speech, 216, 217, 219; and focalizer and focalized object, 77–78; as a form of “spatialization,” 46; and frame theory, 182–83; as a human being, 213–14; as a human dialogue, 215; and implied author, 17; and indeterminacy, 341n261, 367n690; and interaction with reader, 213; as law, 215; levels of, 43–44, 47; “mapping” in, 239; as mimesis, 228; mimetic properties of, 16; and minimal story concept, 13; narratee for, 21–22; and narrativization, 293; and narratology, 114–16; objective, 180; self-reflexive or immersive, 329n63; and social reality, 280; as a story, 186; and theory of mind concept, 196–97; time and space in, 61–62, 286; “value-effect” of, 206–7. See also fictional world
textual elements, 17, 46, 98, 99, 206, 289
theory of mind concept, 195–98, 344n304
third-person context, 25–26, 29–30, 32, 35, 108
third-person narrator, 2, 39, 80, 108, 182–84
third-person representation, 25, 27, 29
thought-action continuum, 195–96
time: of analysis, 284; analysis of, 65, 65–66, 66; and deceleration, 67; of narration, 66, 68. See also space and time
Tom Jones (Fielding), 201
topographical structure, 62, 63, 64
totalization, 298–99
Towards a “Natural” Narratology (Fludernik), 137, 345n336
traditional narratology, 6, 8, 9, 122, 154, 236
Transparent Minds (Cohn), 24
truth: and fictionality, 148–49; and possible world theory, 148
typification concept, 103, 105–6
Under the Volcano (Lowry), 82
undramatized narrator, 19, 20, 22, 310n32
unnatural narratology, 295–300
unreliability, 219–20, 321n122, 349n401
unreliable narrator, 158, 181–82, 219
Uspensky, Boris, 208–9
value judgment, 207, 214, 348–49n394
van der Voort, Cok, 55
variable focalization, 81, 159, 218
video games. See computer games
virtual reality (VR), 121, 147, 148, 328n58
Vitoux, Pierre, 318nn81–82, 319n96
Warhol, Robyn, 221, 222, 223, 229–30, 234–35, 241, 246
Wasco. See “City”
The Waves (Woolf), 143
“wearing the pants,” 4, 189, 241, 242, 243, 303
works of art, 64, 118, 167, 264, 266
Zunshine, Lisa, 196–97