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Lingua Inglese Narrative Fiction Newspapers, history books, novella, films, are only some of the narrative that permeate our lives. By narrative fiction we mean the narration of a succession of fiction events. Narration suggests a communication process in which narrative is trasmitted by addressed to addressee. It is this that distinguishes narrative fiction from narrative in other media. Suggests how narrative fiction differì from other literary texts such as lyrical poetry. Narrative is a successione of events. Single event narrative are rhetorically possible. Classification of events: story is the successione of events and are the narrate events reconstructed in chronological order, with the partecipants of the events. Text is what we read, the events do not always appear in chronological order, and the narrative content are filtred throughout some prism, prespective. (Focalizer) The text is spoken or written discorse, it implies someone who writes or speaks. Narration can be considered as both real and fictional and the Author is the agent of the prodution of narrative. Story was descrived as the narrated events and the partecipanti of the abstraction of the text. it is part of a larger construct, the reconstructed wolrd, the fiction reality in which the character are supposed to be living and in which events take place. Story is one axis within a larger construct, the axis of temporal organization. Abstracting story-form corresponds to the intuitive skills of the users in processing stories: being able to re tell them. Story is an abstraction from: the specific style of text, rhythm, the language in which the text is written, the sign-system. Users cannot produce stories without some competence. This competente is acquired after a
lot of reading and telling stories. Narrative grammar has become quite higly specialized. The Notion of deep and surface structure come from trasformational generative grammar, which undertake to enumerate the infinite set of sentences of a language by posting a Number of deep structure rules and a set of transformational surface structure. The surface structure is an abstract formulation of the Organization of the observable sentence. Deep structure, lies beneath it and can only be retrieved. Es: the police killed the thief and the thief was killed by the police have differenti surface structure (subject predicate and Direct object/ subject predicate and indirect object) the two sentences have same deep structure since the passive form is a trasformation of a the Active. Fliying Planes can be dangerous has one surface structure but two deep structures depending on how we take it to mean. Plane which fly can be dangerous or it can be dangerous to Fly Planes. The surface structure is sintagmatic, governed by temporal and casual principale and deep structure is paradigmatic based on static logical relations amor elements. Contradictories are created when one seme negates the other. Contraries are mutually exclusive but not exhaustive and they cannot both be true. Story is a construct and an abstraction. The labels given to events in Reading or in a story- paraphrase are not necessarily identical with language used in the text. Ex his finger pressed the trigger. The difference in labello can depend on the level of abstraction. Descriptive or expository propositions are distinct from narrative ones in that they are simultaneously valida according to some spatial or logica principle. Ex roses are red ecc. those are simultaneously true there is no
changes. The same event located at a different points of the story May fulfill different functions. He summarizes in four points: 1 function of characters serve as stable, constant elements in a tale. 2 the Number of functions known to the fairly tale is Limited 3 the sequence of functions is always identica 4 all fair tales are of one type. The Number of function is 31. They need not and not all occur in the same fairy tales and appear always in the same order. Claude bremond: Bremond constructs a model which is more logically than temporali oriented. A plot often praised for its tight logica structure, represents relations among states and events which are only logical. Every three functions combine to form a sequence in which they punctuate three logical stages: possibility, process and outcome. Each functions opens two alternative. Two direction the story can subsequentily take. 1 enchainment: the outcome of one sequence amounts to the potential stage of the next. 2 embedding: one sequence is inserted into another as a specification. 3 joining: the same triad of events has a double narrative relevance and must be ranged under two character names. The improvement in the state of one character May be ipso facto a determination in the state of another. An improvement sequence begin with a lack of disequilibrium and finally estabilish equilibrium. This can be the end of the story but when the equilibrio is disturbi and the process of deterioration have place, then a rock bottom stage and a further improvement. Character the concept of character changes or disappear. Character is pronunced dead. The individual make him a space in which force and events meet rather than an
individuated essenze. The Notion of character is a myth. Characters do not exist at all expect as they are a part of the images and events which bear and move them. To discuss then as they are real human being is a sentimentale misunderstanding of the nature of literature. Character acquire a kind of indipendence from the events in which they live, they can be discussed at some distance from their context. This does not mean that they are just inanimate things but they are textualised. Ex Jane Austen Emma is considered one of the most perso-like characters that is textualised. Character names usually serve as labels. the subordination of characters to action or its indipendence of it. To propp subordinate characters to sphere of action can be categorized accordig to 7 General roles : villan, the donor, the helper, the sought-for-person, and her father, the dispatcher, the Hero and the false Hero. A character May perform more than one role and a role can be fulfilled by more the one charater. Gremais distinguish acteur and actant. They can include not only human being but also inanimate object. The difference between the two is that actants are General categories underlying all narrative while acteur have specific qualities in every narrative. The same actant can vie manifeste by more than one acteur and the same acteur can be assigned to more the one actant. The character is used as the structure Element: the objects and events of fiction exist because of the character. There are narrative in which character predominates (psychological narratives) and other in which action does (apsychological narratives). Character is a construct put together by the reader from various indications disperse in the text. This
The main types of discrepanza between story-order and text-order are traditionally known as flashback or retrospection and foreshadowing and anticipazioni in another hand. Analepsis is a narration of a story-event in a Point of the text. A prolepsis is a narration of a story-event at a Point before earlier events have been mentioned. If events a, b and c figure in the text in the order b, c a then a is analeptic if it is c a b then c is proleptic. Analepses provide past information either about the character or the event or about other characters. Prolepses are much less frequent than analepses, it is telling future before its time. Prolepses can referendum to the Same character or another character, they can cover a period beyond the end of first narrative (external) or a period posterior to the point at which is narrated (internal) or be (mixed). Ex of external prolepsis is narrate in Advance what Will happen in 20 years. Duration: There is no Way of measuring text-duration. So we remember that a dialogue is a rendering of a language in language, every word in the text presumably standing for a word uttered in the story. It is impossible to describe the varieties of duration. Duration of the story and the length of the text devote to it. Acceleration e deceleration: the effect of acceleration is produced by devoting short segmento of the text to a long period of the story. The effect of deceleration is produced by the opposite, devoting a long segmento to a short part f the story. Descriptive pause: where some segment of the text corresponds to zero story duration. Ex a whole Life is summe up in a few sentences. Story-duration and text-duration are conventionally considered identical.
Acceleration and deceleration are often evacuate by the reader as indicators of importante and centralità. More important events or or Conversation are given in detail whereas the less important are compressed. Sometimes is the opposite situation. Frequency: is a temporal component, is the relation between the Number of times an event appear in the story and the Number of time is narrate in the text. Frequency involves repetition. Repetition-relations between story events and their narration can take the following form: singulative telling once what happened once. Repetitive telling in times what happened once. Iterative telling once what happened in times. There are two Basic types of textual indicators of character: direct definition and indirect definition. The first type names the trait by an adjective. Ex an abstract noun or some other kind of noun. The secondo type displays the traits in various ways, leaving to the reader the task of interferring the Quality they imply. Direct definition: is to generalization and conceptualization. Indirect presentation: a presentation is indirect when rather than mentioning a trait it displays it in various ways. Action: a trait maybe implied both by one-time actions and by habitual ones. Habitual action tends to reveal the character’s unchanging aspect or static aspect. Both one-time and habitual can belong to one of the following categories: act of commission ex something performed by the character. Act of omission ex something which the character should but does not do. Contemplated act ex an unrealized plan or intention of the character. Speech: A character speech whether in Conversation or as a
speak without betraying some personal point of View. 1 focalization and narration are two distint activities. 2 the Centre of consciousness is the focalizer while the user of the third person is the narratore. 3 focalization and narration are also separate in first person retrospettive narrative. 4 there is no difference between third person centre of consciousness and first person retrospective. The difference is the identity of the narrator. 5 focalization and narration May sometimes be combined. Focalization can be external and internal to the story. External is Felt to be Close to the narrating agent. Can also occur in first person narratives, when the temporal and psychological distance between narrator and character is minimal. Internal is inside the represented events. This type generally takes form of a character focalizer. Just as the focalizer can be external or internal to the represented events, so the focalized can be seen either from without or from within. Perception is determinated by two main coordinates: space and time Space The external internal position of the focalizer. Panoramica views are frequent in the beginning or end of narrative. A anoramic View is impossible when focalization is attached to a character or an unpersonifed position internal to the story. Ex if the character is inside a locked room the room itself can be presented through his eyes but not from the street. Time External focalization is pamchronic in the case of an unpersonifed focalizer and retrospettive in case of a character focalizing his own past. Internal focalization is synchronous with the information regalate by the
focalizer. External focalizer has at his disposal all the temporal dimensione of the story, internal focalizer is Limited to the present. The psychological face concerns his mind and emotions. The cognitive and emotive orientato of the focalizer toward focalized. Knowledge congetture these are some of the terms of cognition. The opposition between external and internal focalizazion become that between unrestricted and restricted knowledge. The external focalizer knows everything about the represented world. The knowledge of an internal foclizer is restricted by definition : being a part of the represented world, he cannot know everything about it. The external internal opposition yields objective (netrual uninvolved) and subjective (coloured involved) focalization. The subjectivity of an internal focalizer can be seen by comparing two occasione on which Emma Bovary looks at the Garden. The first occurs before the period of her Great annui and is neutrale. The same Garden is seen by Emma as a place of disease and death. Since the Garden is itself inanimate, the psychological face of focalization is relevant only to the human focalizer perceiving it. the focalized can be perceived either from without or from within.the first type restricts all observation to external manifestation, leaving the emoticon interferire. The Second type reveals the inter Life of the focalized either by making him his own focalizer or by granting an external focalizer. When the focalized is seen from within especially by an external focalizer. , indicators such as he thought he Felt he seen often appear. On the other hand modal expression. The idiological facet The face consists of a General System of viewing the world conceptually, which the events and the
Every text as an implied Author and reader but a narrator and narratee are optional. When narrator and narratee are absent Communication is confonde to the implied Author and reader. The Notion of implied Author must be de-personifed and is best considered as a set of implicitamente norma rather than as a speaker or a Voice. The implied Author cannot literally be part of the narrative Communication situation. The writing of a diary or a letter is a form of narration, the one who writes it May not intent to narrating. The narratee is the agent which is at the very least implicita addressed by the narrator. Temporal relations: Narration is an event like any other it can entertain various temporal relations with the events of the story. A narration that precede the events is anterior narration, using future tense. Narration can be simultaneous with the action es reporting or diary, seems to be verbalizing actions while performing them. The distance between story and narration is not the only temporal determinato of latter. Narration also has a duration and most of the fiction ignores the duration and traete narration as it were instantaneous. Subordinato relations: But there also be narration in the story, a character whose actions are object of narration can himself narrating a story, or another character that narrate a story too. So it creates a stratification of levels. Thus the diegetic level is narrate by an extra diegetic narrator, the hypodiegetic level by a diegetoic one. Hypodiegetic narratives may have various functions: 1 sectional function: some hypodiegetic narratives maintain or advance action of the first narrative. 2 esplicative function: answeringquestions like what were the events leading to the present situation? 3 thematic function: the relations enstabilished between the hypodiegietic and the diegetic levels are those of
analogy. Ex the real Life of Sebastian Knight a dying man is the protagonista f the story who has a secret to divulge and dies before uterina the words which could have changed the lives. A typology of narrators The narrative level to which the narrator belongs, the extent of his partecipation in the story , the degree of perceptibility of his role are cruciale factors in the reader’s understanding. Narrative level A narrator who is above, is extra diegetic. If the narrator is also diegetic character in the first narrative told by the extra diegetic narrator then he is a Second degree or intradiegetic narrator. Both intradiegetic and extradiegetic narrator can be absent or present in the story they narrate. The extradiegetic narrator of Tom Jones are partecipanti in the story they narrate. It is their being absent from the story and their higher authority which has always been called omniscience. Familiarità with the characters thoughts and feeling, knowledge of past present and future. When narrating the story he knows everything about it. Like extradiegetc narrators, intradiegetic narrators can also be either heterodegetic and homodiegetic. 1 decsription of Setting: in narrative fiction it has to be said in language and language is that of a narrator. 2 identificati of charather: show prior knowledge of the character, also impali an assumption that the narratee reader does not share this knowledge ex comunicate with others what they don’t know. 3 temporal summary: summary presupposes a desire to account for time-passage, to satisfy questions in a narratee’s mind. 4 definition of character: whereas an identificato of a character implies only the narrato’s aprir knowledge
narrator. An overt can be made perceptible through the narratee actual answers or comments or his actions. The extradiegetic narratee is grande reliability and the intradiegetic narratee can be unrealiable. Speech representation: Diegesis and mimesis. The characteristic feature of diegesis is that the poet himself ia the speaker and does not even attempt to suggest to us that anyone but himself is speaking. In immessi the poet tries to create the illusion that it is not he who speaks. mimesis Direct rendering of speech has come to designate te capacity of the literatre to represent or imitate the reality. Diegesis referring here to the indirect rendering of the speech was tdivorced by some modern narratologists. we point out that on stage there are characters who act make gestures speak in a Way analogous to people in reality. In narrative all actions and gestures are rendere in words. The polarization of diegesis and mimesis reappears under the names of telling and showing. Showing is the Direct presentation of events and conversation, the narrate seems to disappear. Telling is a presentation mediate by the narrator who exhibiting the events talks about them. The Problem of mimesis: As genette argues, no text of narrative fiction can show or imitate the action it conveys since all such texts are made of language. Language can only imitate language. The distintin is not between telling and showing but between diferent degrees of telling. 1 Diegetic summary: the bare report that a speech act has occurred without specification. 2 summary, less pareli diegetic: that represent not just mentions, a speech event in that it names the topi of conversation. 3 indirect content paraphrase: a paraphrase of the content of the speech event.
4 indirect discorse: a form of indirect discorse which create the illusion of preservino aspect of style. 5 free indirect discorse: grammatically intermediation between indirect and direct discorse. 6 Direct discorse: a quotazioni of monologe or a dialogue. 7 free Direct dialogue: Direct discorse shorn of its convenzionale orthographic cues. Free indirect discorse: FID linguistico combinato of two voices. Linguistico features: 1 reporting vero of saying thinking, the conjunction of that is absent. Deletion of the reporting verbs. Vedi riquadro. 3 personal and possession pronouns. 4 deictics 5 questions vedi riquadro. The FID hypothesis is often necessari in order to identici speakers and assign given speech-features. The pluralità of speaker and attitudes. FID is a convenient vehicle to represent steam of consciousness. The role of reader: The reciprocal relations between text and reader, a text cn only come to Life when its read. The written tect is conceived as having a virtual dimenano which calls for the reader’s construction of the unwritten text. Just as the reader participates in the production of the text’s meaning so the text shares the reader. The text pre- shapes a certain competente to be brought by the reader from the outside so in the course of Reading it develops i te reader a specific competente needed to grip with it. Autonomo objects have immanente property only, heteronomus objects are characterrized by a combinato od immanente propertied and Properties attribuite by consciousness. the reader is seen in the book as a construct a characterization of the text. Analepsis are often used to provide information
down comprehension nd creating suspence are Delay and gaps. Delay consists in not imparting information where it is due in the text but leaving it for a later stage. Future- oriented and past-oriented. The first type consist in keeping alive the question what’s next, events maybe narrate in the order in which they are supposed to have occurred. The text Will Delay the narration of the next event in the story , the reader is now curious to learn about it. The Second one consist in keeping alive questions like what happens who did it, the omission of information about the past or the present. Both of them can be local ex involve only a portino of the text or global ex effect a major portion of text. Gaps Holes or gas are so Central in the narrative fiction. No matter how detailed the presentation is gaps can always remain open. The filling-in of the gaps is effected by reference to modello of coherence or frames. Frame leads to supplying information. But frames can also create gaps. The hermeneutic aspect of reading consists in detecting an enigma, searching for clues, forming an hypothesis, choose among them and constructing a correct hypothesis. Temporary: filled in a certain passate of the text. Permanent: remain open after the text has come to an end. The reader may or may not be aware of the existence of a gap the gap is prospective. A text can prevent the reader from asking the rigght question until it is answered so the gap is retrospective.
