Basic Elements of Narrative

Herman, David

doi:10.1002/9781444305920

Cited by 494 publications

(220 citation statements)

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“…It functions as a "basic human strategy for coming to terms with time, process, and change" (Herman, 2009: 2) by allowing us to imbue events with a sense of "coherence and continuity" (Mishler, 1990: 427/8). It allows us to see concrete, atomistic occurrences in terms of their relationships to larger wholes.…”

Section: Why Read Twitter As Narrative?mentioning

confidence: 99%

“…Reflecting this, contemporary narratology avoids binary distinctions between narrative and non-narrative texts and talks instead of narrativity -the extent to which texts exhibit key features which enable and encourage narrative responses. Narrative can therefore be viewed as a "fuzzy" (Ochs and Capps, 2001) or "prototypical" (Wolf, 2014: 129) phenomenon with texts displaying greater or lesser amounts of narrativity (Herman, 2009). This makes it possible to discuss a scale of narrativity (Wolf, 2002) ranging from strong, for example traditional fairy tales, to weak, as in certain sculptures or musical compositions which merely hint at a narrative structure (Wolf, 2003), requiring significant input from readers if they are to be interpreted as narratives.…”

Section: Twitter and Storied Interpretation: From Narrative To Narratmentioning

confidence: 99%

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Narrative and interpretation on Twitter: Reading tweets by telling stories

Sadler

2017

New Media & Society

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Existing research on communication on Twitter has largely ignored the question of how users make sense of the fragmentary tweets with which they are presented. Focusing on the use of Twitter for political reporting in post-revolutionary Egypt, this article argues that the production of mental stories provides readers with a mechanism for interpreting the meaning of individual tweets in terms of their relationships to other material. Drawing on contemporary narratology, it argues that Twitter exhibits key elements of narrativity, but that a creative reading process is nonetheless required to transform this incipient narrativity into coherent, sense-making mental narratives. This foregrounding of the reader’s creative role makes stories on Twitter highly fluid and dynamic. Through reference to classic critical theory, I propose that this nonetheless represents an evolution rather than a radical break from earlier forms of narrative reception, which in many cases demanded similarly creative reading practices.

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Section: Why Read Twitter As Narrative?mentioning

confidence: 99%

Section: Twitter and Storied Interpretation: From Narrative To Narratmentioning

confidence: 99%

Narrative and interpretation on Twitter: Reading tweets by telling stories

Sadler

2017

New Media & Society

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“…Narrative, in other words, becomes an intelligent tool through which we make sense of and communicate our world; a take which cognitive narratology has often supported (see Herman, 2009). 'Canonicity and breach' is one of Bruner's principles that has been related in particular to tellability (see Baroni, 2014).…”

Section: The Metafictional Dimension Of Tellabilitymentioning

confidence: 99%

Narrative Concepts in the Study of Eighteenth-Century Literature

Mäkikalli¹,

Steinby²

2017

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The series from the Turku Centre for Medieval and Early Modern Studies (TUCEMEMS) publishes monographs and collective volumes placed at the intersection of disciplinary boundaries, introducing fresh connections between established fields of study. The series especially welcomes research combining or juxtaposing different kinds of primary sources and new methodological solutions to deal with problems presented by them. Encouraged themes and approaches include, but are not limited to, identity formation in medieval/early modern communities, and the analysis of texts and other cultural products as a communicative process comprising shared symbols and meanings. Series Editor Matti Peikola, University of Turku, FinlandNarrative Concepts in the Study of Eighteenth-Century Literature Edited by Liisa Steinby and Aino MäkikalliAmsterdam University Press Some rights reserved. Without limiting the rights under copyright reserved above, any part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise).Every effort has been made to obtain permission to use all copyrighted illustrations reproduced in this book. Nonetheless, whosoever believes to have rights to this material is advised to contact the publisher. Peritextual Disposition in French Eighteenth-Century Narratives 289Teemu Ikonen (University of Tampere) List of Abbreviations 309Index 311 Illustration 1 275 Illustration 2 276 Illustration 3 283 Illustration 4 285 List of Illustrations IntroductionThe Place of Narratology in the Historical Study of Eighteenth-Century Literature Liisa Steinby and Aino MäkikalliDefinierbar ist nur das, was keine Geschichte hat. (Nietzsche) 1 Narratological concepts, such as focalization, perspective, implied author, the distinction between story and discourse, and even homo-and heterodiegetic narration, today belong to the toolkit of scholars of literature, including those who do not consider themselves narratologists. Since literary analysis almost always also encompasses formal aspects of works, narratological concepts concerning the structure and forms of a narrative are taken by many as a 'natural' choice. Narratologists did not originally see their work as 'a handmaiden to interpretation'; their theoretically-based taxonomic description of narrative was separated from interpretation, which always also has to do with the content of the narrative (Herman, 2008, p. 30). However, while there are those, even today, who want to keep narratology 'uncontaminated' by other approaches (see, e.g., Kindt, 2009), most narratologists now welcome attempts to combine narratological conceptualization with a whole range of different approaches in contemporary literary scholarship (see, e.g., Nünning, 2009). We can therefore speak of a rapprochement between the narratological analysis of narrative forms and various approaches which stress cultural and historical contextualization in interpretations of literature....

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“…Rather than offering a rejection of structuralist theories, postclassical narratology is characterised by their reinterpretation and enhancement through a range of concepts and methods peculiar to disciplines such asto mention but a few -gender theory, philosophy of language, cognitive sciences, and sociolinguistics, which were either neglected or unavailable to structuralist scholars (Herman, 2009 (2015); Bernabò, 2015;Capozzi, 1989;Serkowska, 2006;Setti, 2015;Wehling-Giorgi, 2013. to which interpreters relocate (Ryan, 1991) as they work to comprehend a narrative' (Herman 2005: 570).…”

Section: Notesmentioning

confidence: 99%

Elsa Morante’s Aracoeli: A portrait of the mind as embodied

Beltrami

2017

Forum Italicum

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The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that:• a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders.Please consult the full DRO policy for further details. KeywordsAracoeli, cognitive literary criticism, Elsa Morante, embodied mind, unreliability, memory Tale, o poco diversa, mi si presenta, coi suoi dintorni, la casa di Totetaco, se qui ne tento una ricostruzione logica. Ma si tratta, invero, di una ricostruzione forzosa, ossia fabbricata dalla mia ragione «reale», senza nessun aiuto della mia memoria. Se getto uno scandaglio nella mia memoria, fino a toccarne l'ultimo fondo, ne riporto alla luce un tutt'altro Totetaco: tanto veritiero e lampante che tuttora, mentre ne parlo, io rimango incerto e diviso tra i due. E denuncio così (non per la prima volta) la mia natura scissa, che spesso invalida la mia testimonianza perfino al giudizio mio proprio.Quale, dei due, fu il vero Totetaco? [Morante, 1982: 113] In 1982, Elsa Morante published her last novel, Aracoeli. On its back cover, the novel is usually described as the story of Manuele, a 43-year-old lonely, self-loathing homosexual and recovering drug-addict who has a problematic relationship with his long-deceased mother, Aracoeli. Without dismissing other possible readings, the cognitive approach brings to the forefront the presence of the mind in the novel and prompts us to explore its interplay with corporeality, which has often been stressed by extant critical literature. 2 Morante, indeed, not only stresses the centrality of the narrator's mind, but also emphasises its embodied nature. Processes normally regarded as purely mental -such as the elaboration of emotions, understanding and memory -are actually deeply affected by the

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Basic Elements of Narrative

Cited by 494 publications

References 151 publications

Narrative and interpretation on Twitter: Reading tweets by telling stories

Narrative and interpretation on Twitter: Reading tweets by telling stories

Narrative Concepts in the Study of Eighteenth-Century Literature

Elsa Morante’s Aracoeli: A portrait of the mind as embodied

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