The development of narratology has been dependent not only on its theoretical or meta-theoretical advances, but has also emerged with the gradual consolidation of organizational and institutional structures. Focusing on aspects of thematics and didactics, the main question motivating its early theorists (e.g. This approach was further explored by Lämmert (1955), one of the first large-scale taxonomies of narrative. Its concepts and models are widely used as heuristic tools, and narratological theorems play a central role in the exploration and modeling of our ability to produce and process narratives in a multitude of forms, media, contexts, and communicative practices. Early in the last century, the question of narrative perspective (Niederhoff → Perspective – Point of View) became the subject of a poetological controversy initiated by the novelist and theorist Henry James. “Narrative representation” is therefore a preferable definition of narratology’s object of study in that it counteracts this reductionism in two ways: (a) narrative representation is not media specific, since its specificity is of a functional order and lies in narrativity. HANDBOOK OF STEMMATOLOGY History, Methodology, Digital Approaches. ), Narrative Levels (revised version; uploaded 23 April 2014), Metalepsis (revised version; uploaded 13 July 2016). Other theories of narrative coexist with narratological ones. eds. At the point of writing (20 February 2021) no further additions and revisions to the LHN are planned. 2005): is narratology a tool, a method, a program, a theory, or is it indeed a discipline (Schönert 2004)? Kindt & Müller 2003)? The living handbook of narratology (LHN) is based on the Handbook of Narratology, first published by Walter de Gruyter in 2009 and currently available in its second, completely revised and expanded edition of 2014. In addition to mirroring the content of the latest available print version in an open source online publication, we also wanted the LHN to be an instrument and driver for producing new, enhanced and updated versions of the print version(s). Verso le letture sincroniche. From A Handbook to Literature, an interior monologue may be either direct or indirect: Direct: The author seems not to exist and the interior self of the character is given directly, as though the reader were overhearing an articulation of the stream of thought and … At the most abstract level, the semiotician Greimas concentrated on the elementary structure of signification. Communications 8, 1966; Genette [1972] 1980; Prince 1973; Bremond 1973; Culler 1975; Chatman 1978). The following decade was dominated by two major trends: a widening of narratology’s scope beyond literary narrative and the importing of concepts and theories from other disciplines (Ryan & van Alphen 1993: 112). Nünning 2003; Nünning & Nünning 2002). Herman ed. The first use of the term in an English title is found in Ryan (1979) and in a German title in Schmidt (1989). This design was carried over to the third, current version which we launched in 2020. By contrast, a narratologically based approach in literary history― called for repeatedly (Bal 1986; Pavel 1990; Nünning 2000; Fludernik 2003, etc. One of the reasons for the scientific community’s hesitant acceptance of the name “narratology” was the proliferation of related and more general concepts as well as of alternative research agendas concerned with narrative. Herman 2002). This new paradigm was proclaimed in a 1966 special issue of the journal Communications, programmatically titled “L’analyse structurale du récit.” It contained articles by leading structuralists Barthes, Eco, Genette, Greimas, Todorov, and the film theorist Metz. Nünning & Nünning 2002: 15). It is based on an HTML export from the previous, final dynamic version. On a more abstract level, Pavel (1986) and Doležel (1988) extended the narratological model by introducing modal logic and the theory of possible worlds. Greimas [1973] 1987) complements the approach. This concern continued to dominate many theories of the paradigmatic narrative genre right into the early 20th century, most prominently in Lukács ([1916] 1993). Clark, William [1995a], 'Narratology and the History of Science', Studies in History and Philosophy of Science 26, 1–72. ; cf. ), The Fictional Truths of the Representational Arts, Weixler, Antonius; Lukasm, Werner / (eds. Aristotle’s Poetics presented a second criterion that has remained fundamental for the understanding of narrative: the distinction between the totality of events taking place in a depicted world and the de facto narrated plot or muthos. 896-909. While the theoretical ambition and level of abstraction of early structuralist models of narrative were impressive, their practical relevance was hard to prove to philologists. Narratology is a humanities discipline dedicated to the study of the logic, principles, and practices of narrative representation. Over the past twenty years, narratologists have paid increasing attention to the historicity and contextuality of modes of narrative representation as well as to its pragmatic function across various media, while research into narrative universals has been extended to cover narrative’s cognitive and epistemological functions. What is the principal methodological status of the undertaking now that it has transformed into a “Narratology beyond Literary Studies” (Meister et al. (v) Despite the high level of academic attention enjoyed by the practices and products of human narrative competence, the commonsense notion of narrative is still predominantly associated with text-based narratives. Cognitivist approaches also play a crucial role in AI research, the aim of which is to model or simulate human narrative intelligence (Jahn 1999a; Mateas & Sengers eds. 1999). When we started the online version in 2009 we decided to call it "living" because of its dynamic nature. 2004; Wolf 2004) explore the relevance of narratological concepts for the study of genres and media outside the traditional object domain of text-based literary narrative. ( 2001 ) ‘Spreading the feminist word: the case of the new courtesy title Ms in Australian English’, pp. Dan Shen. 2001; Hühn et al. This resulted in the Poetics’ functional approach to fictional protagonists and their actions, the latter explained as governed by the aesthetic and logical requirements of the overall muthos. Broadly speaking, Genette’s narratological taxonomy covered three functional domains of literary narrative: the temporal structure and dynamics of representation (in the dual sense of product and process of representational activity); the mode of narration and its underlying logic of narrative communication; and the epistemological and normative constraints of the gathering and communication of information during the narrative process. Monika Fludernik and Daniel Jacob. Recent contributions such as Adam (2005), Lehmann (2008) or Janik (2008) demonstrate the synergy of this approach. Application, adaptation and reformulation of narratological concepts go hand in hand with the narratological analysis of drama (Fludernik 2000; Jahn 2001; Richardson 2007; Fludernik 2008; Nünning & Sommer 2008), poetry (Hühn 2004; Hühn & Kiefer 2005; Schönert et al. Finally, French narratologists were rooted in structural linguistics and semiology (Greimas [1966] 1983), in logic (Bremond 1973), or in rhetorical and traditional grammatical categories Genette ([1972] 1983). French structuralism eventually gave the decisive impulse for the formation of narratology as a methodologically coherent, structure-oriented variant of narrative theory. These include the North American “International Society for the Study of Narrative,” the Scandinavian “Nordic Network,” and the “European Narratology Network.”. Numerous studies―some of them book-length―have been devoted to fundamental concepts such as event and eventfulness (Schmid 2003; Hühn → Event and Eventfulness), narrativity (Sturgess 1992; Sternberg 2001; Audet et al. from pure “showing”). This extends the focus from purely structural aspects to issues of narrated content. The living handbook of narratology invites you to become actively involved in further developing and enhancing our handbook – you can do so by discussing existing entries and making suggestions as to how they might be enhanced, or by pointing out emerging fields of narratological interest that might warrant a new entry in our handbook. The diversification of narratology since the 1990s has not only borne witness to its continued relevance, but it has also underscored the need to address the problem of methodological identity. To date, the theoretical definition of narratology has generally followed one of three lines of reasoning: the first upholds or questions narratology’s original formalist-structuralist credo; the second explores family resemblances among the old and the “new narratologies” and their various research paradigms; the third focuses on the methodological distinction between hermeneutic and heuristic functions, sometimes suggesting that narratology’s scope ought to be restricted to the latter and sometimes arguing that it ought to be defined in even more general terms. However, the assumption of a direct link between the history of the concept and the history of the discipline is misleading: hardly any of the important contributions to early narratology explicitly associated itself with “narratology” by title (e.g. Barthes ([1966] 1975) proposed a functional systematics of narrated events which distinguishes “kernels,” i.e. 2003; Meister 2003; Lönneker et al. What exactly is narratology (cf. To create an automatic citation reference for a paragraph, select the relevant passage in the article with your mouse, then copy and paste the reference from this text box: © Interdisciplinary Center for Narratology, University of Hamburg. Beginning with the contributors to the programmatic 1966 special issue of the journal Communications and the creation during the 1970s by Bremond, Genette, Todorov, Marin, and Metz of the Centre de recherches sur les arts et le langage (Centre National de Recherche Scientifique), informal organizational models (also represented by the Tel Aviv group with its influential journal Poetics Today, or in the Amsterdam School initiated by Bal) have played a decisive role in shaping narratology as a paradigmatic inter-discipline. those imagined in a narrated character’s mind. Even during the heyday of poststructuralism, it was observed that “visits to the tool shed of narratology may be of advantage even to those making critical theory their main residence” (Hoesterey 1991: 214). Others have investigated historical links between narratology and German Erzähltheorie (Cornils & Schernus 2003; Fludernik & Margolin 2004). 2003) focuses on the human intellectual and emotional processing of narratives. al., Berlin: De Gruyter, 2014. The living handbook of narratology invites you to become actively involved in further developing and enhancing our handbook – you can do so by discussing existing entries and making suggestions as to how they might be enhanced, or by pointing out emerging fields of narratological interest that might warrant a new entry in our handbook. Paragrafo: 2.5 Concetti descrittivi della narratologia (PDF), su sufueddu.org. 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