Gérard Genette

Abstract: Foreword by Jonathan Cutler Translator's Preface PrefaceIntroduction 1. Order 2. Duration 3. Frequency 4. Mood 5. VoiceAfterword Bibliography Index

Abstract: Foreword Translator's note 1. Introduction 2. The publisher's peritext 3. The name of the author 4. Titles 5. The please-insert 6. Dedications and inscriptions 7. Epigraphs 8. The prefatorial situation of communication 9. The functions of the original preface 10. Other prefaces, other functions 11. Intertitles 12. Notes 13. The public epitext 14. The private epitext 15. Conclusion Additional references Index.

Abstract: By definition, a palimpsest is oa written document, usually on vellum or parchment, that has been written upon several times, often with remnants of erased writing still visible.o Palimpsests (originally published in France in 1982), one of GUrard GenetteAEs most important works, examines the manifold relationships a text may have with prior texts. Genette describes the multiple ways a later text asks readers to read or remember an earlier one. In this regard, he treats the history and nature of parody, antinovels, pastiches, caricatures, commentary, allusion, imitations, and other textual relations. GUrard Genette is one of the most original and influential literary critics of modern France. He is the major practitioner of narratological criticism, a pioneer in structuralism, and a much-admired literary historian. Such works as Narrative Discourse and Mimologics (Nebraska 1995) have established his international reputation as a literary theorist of the first order.

Abstract: To raise the question of the nature of narrative is to invite reflection on the very nature of culture and, possibly, even on the nature of humanity itself. So natural is the impulse to narrate, so inevitable is the form of narrative for any report of the way things really happened, that narrativity could appear problematical only in a culture in which it was absent-absent or, as in some domains of contemporary Western intellectual and artistic culture, programmatically refused. As a panglobal fact of culture, narrative and narration are less problems than simply data. As the late (and already profoundly missed) Roland Barthes remarked, narrative "is simply there like life itself. . international, transhistorical, transcultural."' Far from being a problem, then, narrative might well be considered a solution to a problem of general human concern, namely, the problem of how to translate knowing into telling,2 the problem of fashioning human experience into a form assimilable to structures of meaning that are generally human rather than culture-specific. We may not be able fully to comprehend specific thought patterns of another culture, but we have relatively less difficulty understanding a story coming from another culture, however exotic that

Abstract: The effective practice of medicine requires narrative competence, that is, the ability to acknowledge, absorb, interpret, and act on the stories and plights of others. Medicine practiced with narrative competence, called narrative medicine, is proposed as a model for humane and effective medical practice. Adopting methods such as close reading of literature and reflective writing allows narrative medicine to examine and illuminate 4 of medicine's central narrative situations: physician and patient, physician and self, physician and colleagues, and physicians and society. With narrative competence, physicians can reach and join their patients in illness, recognize their own personal journeys through medicine, acknowledge kinship with and duties toward other health care professionals, and inaugurate consequential discourse with the public about health care. By bridging the divides that separate physicians from patients, themselves, colleagues, and society, narrative medicine offers fresh opportunities for respectful, empathic, and nourishing medical care.

Abstract: What is narrative? How does it work and how does it shape our lives? H. Porter Abbott emphasizes that narrative is found not just in literature, film, and theatre, but everywhere in the ordinary course of people's lives. This widely used introduction, now revised and expanded in its third edition, is informed throughout by recent developments in the field and includes one new chapter. The glossary and bibliography have been expanded, and new sections explore unnatural narrative, retrograde narrative, reader-resistant narratives, intermedial narrative, narrativity, and multiple interpretation. With its lucid exposition of concepts, and suggestions for further reading, this book is not only an excellent introduction for courses focused on narrative but also an invaluable resource for students and scholars across a wide range of fields, including literature and drama, film and media, society and politics, journalism, autobiography, history, and still others throughout the arts, humanities, and social sciences.

Abstract: Using narrative theory, this article explores strategic management as a form of fiction. After introducing several key narrative concepts, we discuss the challenges strategists have faced in making strategic discourse both credible and novel and consider how strategic narratives may change within the "virtual" organization of the future. We also provide a number of narrativist-oriented research questions and methodological suggestions.

Abstract: The theory developed here is that quotations are demonstrations that are component parts of language use. Demonstrations are unlike descriptions in two main ways. They are nonserious rather than serious actions. A person demonstrating a limp isn't actually or really limping. And they depict rather than describe their referents, though they depict only selected aspects of the referents. The demonstrator of the limp depicts some but not all of its aspects. Quotations, we argue, have all the properties of genuine demonstrations. They too are nonserious actions and selective depictions. For evidence we appeal to a wide range of phenomena in spontaneous spoken and written quotations.*