Narrative Mode: A comparative Study on Selected Short Stories of Leo Tolstoy and Edgar Allan Poe (original) (raw)
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Narrative Mode In Comparative Literature
In the discipline of Comparative Literature, narrative mode can be identified as a pertinent method of understanding the subject, and provide an analytical approach to discern the emergence, prevalence and sustenance of broader narratives at an interdisciplinary degree. Literary texts are patterned to a particular rationale, which is formulated by the hermeneutics or the historiography of the text, that can also be translated or mistranslated into a construct. Therefore, narrative mode as a module or methodology, yields an important space for investigation and study of narratology in different cultural paradigms, resulting in the plurality of multiple frameworks where the texts are contextualized. Catherine Riessman comments upon the nature of narrative inquiry, which is prevalent in the investigation of various questions which are being generated in the plausibility of the text in its autonomy as well as numerous intersectionality.
Abstract: Narration is considered as the art of voicing moods and expressions in the form of a story. In India, narration got its roots where it developed in the hands of intellectuals. A narrative is a story which has a beginning, a middle and end. It is conveyed by a person who is consigned the title of narrator who narrate it through pictures, poetry, fiction or non-fiction genre. To relate the narrower components of the narrative the writer uses different techniques and devices. In Indian English fiction narrative writing has important place. Indian writers chose language of their colonizers to express their innate feelings but they adopted, nurtured and made English language their own. Indian English fiction writers use narrative to provide creative respite and fulfillment. Through the narrative they delve into stories or observations to edify or entertain readers. They also express their purpose of story through narrative writing. Indian English writers apply different narrative techniques in their narrative. Since 1938 when Raja Rao‟s Kanthapura was published, there has been much aggrandizement in the narrative techniques. Kanthapura was perhaps the first most successful and influential Indian novel which has great story- telling qualities. Raja Rao mainly used oral narration. The later writers like Kamala Markandaya, R.K. Narayan, Mulk Raj Anand and Anita Desai expand this tradition of narrative. A sound narrative leaves its readers with a dominant impression about its characters and event. The present paper provides a profound knowledge of narration and narrative techniques espoused by Indian fiction writers to nurture the art of narration.
Narrativity and Textuality in the Study of Stories
2013 Workshop on Computational Models of Narrative/Open Access Series in Informatics , 2013
This paper seeks to investigate some of the defining elements of narrative. The underlying assumption of my discussion is that the terms “narrative” and “story” do not refer to clearly defined, self-enclosed genres. Rather, they are part of a spectrum which embraces all forms of texts. Similarly, narratives and stories are not independent discourses but rather are an integral part of virtually all forms of discourse, be it day-to-day conversation or more specialized discourses. In order to analyze the relationship between narratives and other modes of discourse, we introduce the concept of narrativity. Narrativity refers to a collection of textual attributes. All texts exist along a continuum of greater or lesser narrativity, depending on the number and prominence of the narrative attributes they contain. When we refer to a text as a story, we mean that it contains a critical mass of narrativity. Most theorists of narrative have defined narrativity purely in terms of “dynamism”–that is, the extent to which a text portrays transition and change. To this I have added the quality of “specificity”. Specificity refers to the extent to which a text focuses on a particular time or place, a unique event, or individual people and objects. Many if not most texts contain a certain degree of narrativity. We established, however, that in order to be considered a story the text must present a sequence of at least two interrelated events that occurred once and only once in the past. In other words, a story must have a certain degree of dynamism in that it portrays the transition from at least one event to another. It must also have specificity at least to the degree that the text narrates events that happened at a fixed time in the past. This theoretical framework allows us to chart the relationship between different types of texts within a single discourse. It also gives us a vocabulary for discussing different parts of more complex narratives which often contain elements of varying narrativity. The paper then goes on to discuss the concept of narrative structure, arguing that narrative structure is not an inherent attribute of narrative texts but a framework that the reader imposes on the text in order to make it intelligible in terms of other narratives. The structure which the reader abstracts from a given narrative will be heavily dependent on the context of the narrative with in a wider discourse.
The Study of the Narrator in Herman RN'S Short Stories
Retorika: Jurnal Bahasa, Sastra, dan Pengajarannya, 2023
This study aims to explore and strengthen the concept of narratology as one of the theories of contemporary literature. The study focuses on three aspects, namely the various forms of the narrator, the dominant type of greeting, and the unique characteristics of the work. The object of this study is 38 short stories by Herman RN which were published in various media and anthologies from 2005 to 2020. This research uses an objective approach, with qualitative-descriptive methods and content analysis techniques. The research findings are (1) the form of the narrator in the Herman RN's short stories consisting of the first-person narrator (55.26%) and the third-person narrator (44.74%); (2) the dominant type of greeting used by the narrator who tells the story by referring to himself as "Aku = I" or "saya = I" (or other synonyms) or by referring to the object being told, such as 'dia = he,-nya = his, (or the name of the character); and (3) the short stories have not shown certain characteristics that have become a trend in the use of these narrators. The research concludes that the storytelling system of Herman RN's short stories is simple, easy to understand, and consistent with one choice.. Kata kunci: narratology, narrator, short story Narration is a type of text that tells an event. As a text in the form of a story, this type of text is often found in literary texts. Literary narrative texts have their own characteristics, different from non-literary narrative texts (Atmaja, 2020). the difference lies in the way the author tells the story, including vocalization, namely the use of a narrator in the story (Sutrisno, 2020). The science that discusses focalization in literary narrative is called narratology (Atmaja, 2020; Sutrisno, 2020; Intan, 2018). Narration was first introduced by Tzevan Todorov in 1969 (Ahmadian & Jorfi, 2015) as a narrative study. Narrative studies is narrative theory. Narrative theory is the study of narrative as a genre. Of these various terms, narratology is an internationally accepted term. Narration focuses on the study and analysis of narrative texts (Panggabean & Rangkuti, 2020). Elements and components of narratology include narrative, focalization, narrative situation, action, story analysis, storytelling ability, tension, timing, and narrative mode. Narrative elements include stories, discourses, and events, both related to the print genre, as well as the narrative of performance genres such as drama, film, and opera.
Tópicos Especiais (EGA 10094): Theories of Narrative
Fundamental problems of theories of narrative. From narrative forms to textual structures: the relationship between history, narrative and narration. The narrative structures: function, action, and narration; the structural principles of myth and narrative forms. The temporal structure of narratives: order, duration, and frequency; the links between understanding and expressing time in narrative forms. The modes of narrative: mimesis and diegesis. The problem of narrative voices: discourse, enunciation, point of view, focalization. Narrative and reality: the crossings between history and fiction. Pragmatic approaches to narrative studies: the active dimension of reception of narrative texts; paradigms of narrative tension (suspense, curiosity, surprise). The different semiotic materials of narrative discourse. Prologue: There is a considerable importance attached to systematic studies of narrative communication in the culture of modern media culture-which is proportional to the misapprehension of its manifestation in our field of study. Firstly, in several theses, books, and articles circulating in spheres of communication research, there are constant references to notions such as "narrative", "narrativity", "narration", but mentioned in such a degree of generality that enables a thought about the precise meaning of these conceptual employments. In that sense, narrative is a keyword articulating issues that are specific to several discursive practices in media universes (thus related to variables that make up the problem of enunciation as an aspect of communicational texts): merged in such a fashion are two topic orders of inquiry that narrative theories had clearly delineated as " narrativity, on one side, and "discourse", on the other. Another general instance of reference to narrative universes is one in which " fabulatory " or " fictional " dimensions of certain processes and products of our field of studies are intuitively assimilated to the very concept of narrative: in these cases, to think of the idea that the " historical " meaning of these practices is defined as a nucleus of narrations (where confusion here occurs between concepts of "narrative" and " history "). We might continue enumerating similar cases indefinitely, but the diagnosis should be clear by now: in most speeches of theories and research in communication studies, the reference to narrative is merely pretextual, at least as regards to conceptual clarity animating theories of narrative: the extensive theoretical corpus of narratology is an item of considerable disdain from media theories – being such a conceptual good something coming from literary studies, epistemology of history, or philosophy of language. Disciplines that had reflected on narrative forms, their internal structures and functioning, the epistemic orders assumed for its actualization in the reader's/beholder's experience, their relationships with mental and historical structures of understanding eventfulness, its diversified manifestations in objects, modes and means, the extent of their genres rules, all these specific aspects of a study of narratives were dissolved in most of its evocation in the name of merely " historical/contextual or discursive/ideological meanings of practices, processes and products of media universes. In this sense, we must recover the centre of a rigorous reflection on the conceptual/ phenomenal status of narrativity and its importance for theories of communication, in a context where understanding these phenomena necessarily passes through the recognition of the legitimacy of a communicational question: what, after all, is narrating something?
Introduction to the Levels of Analysis of the Narrative Text (Narrative Theory, 0)
'Narrative Theory' is an online introduction to classical structuralist narratological analysis. This preliminary section provides an introduction to the notion of level of analysis in narrative, and examines a number of theories bearing on the structure of the fabula (Aristotle, Tomashevsky, Bal) and of the story (Genette), with attention to the dimensions of time, distance, perspective, and to the discursive agency of the narrator.