Transcript Narrative Lexicon G-I

Narratology
Lexicon
G-I
Studies in Narratology,
Summer 2011
Studies in Narratology, Summer 2011
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gap filling (Ingarden):
“In the reading act, the
fictional world represented by the words on the page is
rendered within the consciousness of the reader. That
world is created as the reader follows the directions for
meaning construction provided by the text, but even more
importantly as the reader fills in the places the text leaves
vacant.”—Robert C. Allen, “Reader-Oriented Criticism”
This process is “gap-filling.”
Studies in Narratology,
Summer 2011
Studies in Narratology,
Summer 2011
Studies in Narratology,
Summer 2011
helper (Propp): 1. One of the seven
fundamental roles that a character may assume
(in a fairy tale), according to Propp; one of six
actants in Greimas's early versions of the actinia
model. The Helper (analogous to Souriau's moon)
helps the hero or subject. 2. ln Greimas's more
recent model of narrative, a positive auxiliant that
is represented, at the surface structure level, by
an actor different form the one representing the
Subject. See: Greimas 1970, 1983b; Greimas
and Courtes 1992; Henault 1983; Propp 1968.
See also DRAMATIS PERSONA, SPHERE OF
ACTION.
Studies in Narratology,
Summer 2011
hero (Propp): 1. The protagonist or central
character in a narrative. The hero (or heroine)
usually represents positive values. 2. One of the
seven fundamental roles that a character may
assume (in a fairy tale), according to Propp. The
hero (analogous to Greimas's subject and
Souriau's lion) suffers from the action of the
villain or from some kind of lack and/or liquidates
his or another character's misfortune or lack.
See: Hamon 1972, 1983; Propp 1968. See also
ACTANT, ANTIHERO, DRAMATIS PERSONA,
SPHERE OF ACTION.
Studies in Narratology,
Summer 2011
Studies in Narratology,
Summer 2011
Studies in Narratology,
Summer 2011
Studies in Narratology,
Summer 2011
hyperdiegesis:
”a vast and
detailed narrative space, only a
fraction of which is ever directly
seen or encountered within the
text ” (Matt Hills, Fan Cultures
137) .
Studies in Narratology,
Summer 2011
hyperfiction:
1. A work of fiction written and
presented as an electronic hypertext document, especially
one that allows variations in plot development.
2. The category of literature comprising such works.—
American Heritage Dictionary
Studies in Narratology,
Summer 2011
Studies in Narratology,
Summer 2011
Studies in Narratology,
Summer 2011
Studies in Narratology,
Summer 2011
Studies in Narratology,
Summer 2011
Studies in Narratology,
Summer 2011
interior monologue:
The nonmediated
presentation of a character's thoughts and impressions
or perceptions; an extended stretch of FREE DlRECT
DISCOURSE (Les Lauriers sont coupes, Molly
Bloom's monologue in Ulysses). lnterior monologue
(monologue interior, stiller Monolog) is now frequently
taken to subsume STREAM OF CONSCIOUSNESS
as a particular variant. However, it has sometimes
been opposed to stream of consciousness: interior
monologue would present a character's thoughts
rather than impressions or perceptions, and stream of
consciousness would present both impressions and
thoughts; or else, the former would respect
morphology and syntax, whereas the latter would not
and would thus capture thought in its nascent stage,
...
Studies in Narratology,
Summer 2011
interior monologue (continued):
prior to any logical organization. On the other hand,
the two terms have often been used interchangeably;
in fact, Dujardin-whose Les Lauriers sont coupes
probably constitutes the most famous example of a
text written entirely in FREE DIRECT DISCOURSEstressed stylistic criteria and effects associated with
stream of consciousness in his definition of interior
monologue. See: Bickerton 1967; Bowling 1950;
Chatman 1978; Cohn 1978, 1981; Dujardin 1931;
Francoeur 1976; M. Friedman 1955; Genette 1980;
Humphrey 1954; Scholes and Kellogg 1966. See also
AUTONOMOUS MONOLOGUE, DRAMATIC
MONOLOGUE, TYPES OF DISCOURSE.
Studies in Narratology,
Summer 2011
interpretive community
(Fish): ”the idea that a text’s meaning
is not an essential part of it, but comes
from the shared ideology of the
‘community’ reading it.”
—mediadictionary.com
Studies in Narratology,
Summer 2011
Studies in Narratology,
Summer 2011
Studies in Narratology,
Summer 2011
intrusive narrator:
A NARRATOR
commenting in his or her own voice on the
situations and events presented, their
presentation, or its context; a narrator relying
on and characterized by commentarial
excursuses or intrusions (Eugenie Grandet,
Barchester Towers, Tom Jones). See: Blin
1954; Genette 1980; Prince 1982. See also
AUTHOR’S INTRUSION, COMMENTARY,
OVERT NARRATOR.
Studies in Narratology,
Summer 2011
Studies in Narratology,
Summer 2011
Studies in Narratology,
Summer 2011
Studies in Narratology,
Summer 2011
iterative narrative (Genette):
A
narrative or part thereof with a Frequency
whereby what happens n times is recounted
once: "Every Sunday, we went to the beach."
An iterative narrative (or iterative series) can
have a Determination (the span of time in
which an event or set of events is said to
recur), a Specification (the rhythm of
recurrence of the event or set of events), and
an Extension (the duration of the recurring
event or set of events). ln "During a period of
eight weeks, I ran once a week for an hour,"
the series has a determination of eight weeks,
a specification of one day out of seven, and
an extension of one hour. See: Genette 1980.
Studies in Narratology,
Summer 2011