Narrative Fiction

Rimmon‐Kenan, Shlomith

doi:10.4324/9780203130650

Cited by 364 publications

(60 citation statements)

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“…As authors or principals (Goffman 1981), they present their reliable representation of the world to the viewers. The pattern therefore appears to be based on the old Platonic distinction, revived in the Anglo-American school of narratology (Rimmon-Kenan 2002), between telling and showing. Relating in different ways to images and words (Lewis 2001) telling and showing 'may be viewed as two ideal models which embody different logics of discourse' (Shenhav 2008: 226) and different simulations/impressions of authenticity.…”

Section: Travellers In the Documentaries' Voice-overmentioning

confidence: 92%

Values and Choices in Television Discourse

Piazza¹,

Haarman²,

Caborn³

2015

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Section: Travellers In the Documentaries' Voice-overmentioning

confidence: 92%

Values and Choices in Television Discourse

Piazza¹,

Haarman²,

Caborn³

2015

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“…69 Als belangrijkste redenen van onbetrouwbaarheid noemt Rimmon-Kenan (1983) 'the narrator's limited knowledge, his personal involvement, and his problematic value-scheme'. 70 De normen van de verteller zijn problematisch 'if they do not tally with those of the implied author of the given work'. 71…”

Section: 3mentioning

confidence: 98%

Bedrieglijk betoog - Auteursintentie en interpretatie van Hermans’ ‘Preambule’

Weegh¹

2014

Nederlandse Letterkunde

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Willem Frederik Hermans's second collection of short stories, Paranoia (1953), opens with a short prose piece entitled 'Preambule' that for decades has been regarded as an introductory essay to the book. The italicized sentence 'There is only one real word: chaos' has often been understood as summary of the author's own epistemological views. However, Hermans himself always insisted that 'Preambule' was a story; but the author's claim has had little impact on its reception. This essay first brings together various explicit or implicit authorial indicators of the genre of 'Preambule', ranging from its typographical presentation to explanations in interviews. second, against the background of the fundamental pattern underlying Hermans's creative work as established in Hermans scholarship, I attempt to provide a coherent interpretation of the piece as a story, with an argument centered on but not limited to a comparison of the protagonist's philosophy of language with his own practice. I argue that the narrator turns out to be a self-caricature rather than a genuine self-portrait. The essay concludes by assessing how the story fits into the group of stories that make up the collection, and whether there is any significant order involved.

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“…Not surprisingly, many authors think this definition is insufficient. They think a text must describe at least two events for it to count as a narrative (Barthes, 1982; Rimmon‐Kenan, 2002). A sentence such as ‘The nurse sat down, and the doctor wrote a prescription’ meets this condition, and would therefore merit the ‘narrative’ label.…”

Section: Narrativitymentioning

confidence: 99%

Narrative vigilance: the analysis of stories in health care

Paley

Eva

2005

Nursing Philosophy

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The idea of narrative has been widely discussed in the recent health care literature, including nursing, and has been portrayed as a resource for both clinical work and research studies. However, the use of the term 'narrative' is inconsistent, and various assumptions are made about the nature (and functions) of narrative: narrative as a naive account of events; narrative as the source of 'subjective truth'; narrative as intrinsically fictional; and narrative as a mode of explanation. All these assumptions have left their mark on the nursing literature, and all of them (in our view) are misconceived. Here, we argue that a failure to distinguish between 'narrative' and 'story' is partly responsible for these misconceptions, and we offer an analysis that shows why the distinction between them is essential. In doing so, we borrow the concept of 'narrativity' from literary criticism. Narrativity is something that a text has degrees of, and our proposal is that the elements of narrativity can be 'sorted' roughly into a continuum, at the 'high narrativity' end of which we find 'story'. On our account, 'story' is an interweaving of plot and character, whose organization is designed to elicit a certain emotional response from the reader, while 'narrative' refers to the sequence of events and the (claimed) causal connections between them. We suggest that it is important not to confuse the emotional persuasiveness of the 'story' with the objective accuracy of the 'narrative', and to this end we recommend what might be called 'narrative vigilance'. There is nothing intrinsically authentic, or sacrosanct, or emancipatory, or paradigmatic about narrative itself, even though the recent health care literature has had a marked tendency to romanticize it.

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Narrative Fiction

Cited by 364 publications

References 0 publications

Values and Choices in Television Discourse

Values and Choices in Television Discourse

Bedrieglijk betoog - Auteursintentie en interpretatie van Hermans’ ‘Preambule’

Narrative vigilance: the analysis of stories in health care

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