Manfred Jahn

Bio: Manfred Jahn is an academic researcher from University of Cologne. The author has contributed to research in topics: Narrative & Narratology. The author has an hindex of 7, co-authored 9 publications receiving 642 citations.

Routledge Encyclopedia of Narrative Theory

Abstract: actant action theory adaptation address addresser and addressee adolescent narrative advertisements African narrative agency allegory alteration alterity anachrony analepsis ancient theories of narrative (Western) ancient theories of narrative (non-Western) anecdote animated film annals anti-narrative apology archetypal patterns architext Artificial Intelligence and narrative atomic and molecular narratives attributive discourse audience Australian Aboriginal narrative authentication author authorial narrative situation autobiography autodiegetic narration autofiction backstory ballad Biblical narrative Bildungsroman biography biological foundations of narrative blog (weblog) catachresis catharsis causality character Chicago school children's stories (narratives written for children) children's storytelling Chinese narrative chronicle chronotope cineroman closure codes for reading cognitive narratology coincidence comics and graphic novel coming-out story commentary communication in narrative communication studies and narrative composite novel computational approaches to narrative computer games and narrative concretisation confessional narrative conflict Constance school contextualism (in historiography) conversational storytelling counterfactual history courtroom narrative cultural-studies approaches to narrative cyberpunk fiction dance and narrative deconstructive approaches to narrative defamiliarisation deixis denarration description desire detective fiction dialogism dialogue in the novel diary didactic narrative diegesis digital narrative discourse analysis (Foucault) discourse analysis (linguistics) disnarrated, the distance drama and narrative dramatic irony dramatic monologue dramatic situations dream narrative dual-voice hypothesis dystopian fiction eco-narratives ecriture feminine education and narrative ekphrasis embedding emic and etic emotion and narrative emplotment encyclopedic novel epic epiphany episode epistolary novel ergodic literature ethical turn ethnographic approaches to narrative events and event-types evolution of narrative forms existent experiencing-I experientiality exposition extradiegetic narrator fable fabula fairy tale family chronicle fantastic, the fantasy feminist narratology fiction, theories of Figura (Auerbach) figural narration film narrative first-person narration focalization folklore folktale foregrounding formalism frame theory framed narrative free indirect discourse frequency Freytag's triangle function (Jakobson) function (Propp) gapping gaze gender studies genealogy genre fiction genre theory in film studies genre theory in narrative studies gesture gossip Gothic novel grand recit graphic presentation as expressive device hagiography hermeneutics hero heterodiegetic narration heteroglossia historical novel historical present historicis historiographic metafiction historiographic narratology historiography Holocaust narrative homodiegetic narration horizon of expectations horror narrative humour studies and narrative hybrid genres hybridity hypertext hypertext and hypotext (Genette) hypodiegetic narrative identity and narrative ideology and narrative image and narrative immersion implied author implied reader in medias res indeterminacy institutional narrative intentionality interactive fiction interactivity interdisciplinary approaches to narrative interior monologue intermediality intertextuality intradiegetic narrator irony isotopy Japanese narrative joke journalism law and narrative legal fiction legend leitmotif letters as narrative life story linguistic approaches to narrative logic of narrative magical realism Marxist approaches to narrative master narrative media and narrative mediacy medicine and narrative medieval narrative memory mental mapping of narrative metafiction metahistory metalepsis metanarrative comment metaphor metonymy micro-storie mimesis mindscreen mind-style minimal narrative mise en abyme modality mode modernist narrative molecular narratives montage mood (Genette) motif multi-path narrative multi-plot narrative music and narrative myth: thematic approaches myth: theoretical approaches mytheme naming in narrative narratee narrating (Genette) narrating-I narration narrative narrative as argument narrative as cognitive instrument narrative comprehension narrative disorders narrative dynamics narrative explanation narrative in poetry narrative intelligence narrative levels narrative progression narrative psychology narrative semantics narrative situations narrative speed narrative structure narrative techniques narrative therapy narrative transformation narrative transmission narrative turn in the humanities narrative units narrative universals narrative versions narrative, games, and play narrativisation narrativity narrator Native American narrative natural narratology naturalisation Neo-Aristotelianism no-narrator theory nonfiction novel nouveau roman novel, the novella nursery rhyme obituary opera oral cultures and narrative oral history oral-formulaic theory orality organisations and narrative Oulipo palimpsest panfictionality parable paralepsis and paralipsis paratext parody participatory narrative pastiche performance performativity person perspective phenomenology of narrative philosophy and narrative philosophical novel photographs picaresque novel pictorial narrativity plot plot types point point of attack point of view (cinematic) point of view (literary) polyphony pornographic narrative positioning possible-worlds theory postclassical narratology post-colonialism and narrative postmodern narrative postmodern rewrites poststructuralist approaches to narrative pragmatics prison narrative prolepsis prospective narration psychoanalysis and narrative psychological approaches to narrative psychological novel psychonarration queer theory Quixotic novel quotation theory radio narrative reader address reader constructs readerly text, writerly text (Barthes) reader-response theory realeme realism, theories of realist novel reality effect reception theory reference reflector reflexivity reliability remediation repurposing retardatory devices retrospective narration rhetorical approaches to narrative riddle ring-composition roman a clef roman a these romance romance novel Russian Formalism Sanskrit narrative satiric narrative scene (cinematic) schemata science and narrative science fiction screenplay scripts and schemata secondary orality second-person narration semiotics serial form sermon short story shot showing versus telling simple forms simulation and narrative simultaneous narration situation model sjuzhet skaz slash fiction slave narrative soap opera sociolinguistic approaches to narrative sociological approaches to literary narrative sociology and narrative soundtrack space in narrative spatial form spectacle speech act theory speech representation sports broadcast story arc story grammars story schemata and causal structure story-discourse distinction storyworld stream of consciousness and interior monologue structuralist narratology summary and scene surfiction surrealist narrative suspense and surprise syllepsis tabloid narrative tall tale Tel Aviv School of narrative poetics Tel Quel television tellability temporal ordering tense and narrative testimonio text text-world approach to narrative thematic approaches to narrative thematisation theology and narrative third-person narration thought and consciousness representation (film) thought and consciousness representation (literature) thriller time in narrative transfictionality transfocalization and transvocalization transgressive fictions trauma theory travel narrative trebling/triplication truth unnarratable, the unreliable narration urban legend utopian and dystopian fiction verisimilitude virtuality visual narrativity visualisation voice voice-over narration writerly text

Frames, Preferences, and the Reading of Third-Person Narratives: Towards a Cognitive Narratology

Abstract: The article presents a model-oriented approach to how third-person narratives are read. Building on Minsky's (1979 [1975]) theory of frames, Jackendoff's (1983; 1987) concept of preference rules, Perry's (1979) theory of literary dynamics, and Sternberg's (1982b) Proteus Principle, its main aim is to conceptualize third-person narrative situations (Stanzel 1984) in terms of cognitive models, and to explore the mechanics of top-down/bottom-up hermeneutic processes. Avoiding classical "low-structuralist" narratology with its "normal case" approach, the essay also proposes new ways of analyzing protean phenomena like description, free indirect discourse, and parenthetical discourse. It presents an integrative account of primacy/recency conflicts and sketches the possible direction of a genuinely readingoriented narratology. A Frame-Based Conceptualization of Third-Person Narrative Situations The termframe, either in its usual meaning of context, pattern or scheme, or in a variety of stipulative meanings is currently popular in a number of different disciplines-in literary theory alone, recent reference works list more than ten different uses.' In the present context, a frame will be The author wants to thank Helmut Bonheim, Monika Fludernik, Robert F. Kemp, Delphine Lettau, and Ansgar Niinning for commenting on various preliminary versions of this article. 1. See Prince 1987, Wales 1991, and Hawthorne 1992 under "frame" for a cumulative general survey. The possible impact of cognitive, empirical, and artificial intelligence issues on literary theory is also discussed in van Dijk and Kintsch 1983; Hrushovski 1982 and 1984; Poetics Today 18: 4 (Winter 1997). Copyright ? 1997 by The Porter Institute for Poetics and Semiotics. This content downloaded from 157.55.39.70 on Tue, 06 Sep 2016 05:10:32 UTC All use subject to http://about.jstor.org/terms 442 Poetics Today 18:4 understood, as in Perry 1979, to denote the cognitive model that is selected and used (and sometimes discarded) in the process of reading a narrative text. According to Perry, a frame stores and structures the answers to questions like "What is happening? What is the state of affairs? What is the situation? Where is this happening? What are the motives? What is the purpose? What is the speaker's position?" (Perry 1979: 43). But while in Perry the term remains largely an undefined primitive, a more explicit theory of frames has been available from artificial intelligence research since about 1975. The following introductory passage from Marvin Minsky's influential exposition presents a useful working definition: (1) Here is the essence of frame theory: When one encounters a new situation (or makes a substantial change in one's view of a problem), one selects from memory a structure called a frame. This is a remembered framework to be adapted to fit reality by changing details as necessary. We can think of a frame as a network of nodes and relations. The "top levels" of a frame are fixed, and represent things that are always true about the supposed situation. The lower levels have many terminals-"slots" that must be filled by specific instances or data. Each terminal can specify conditions its assignments must meet. (The assignments themselves are usually smaller "sub-frames.") . . . Much of the phenomenological power of the theory hinges on the inclusion of expectations and other kinds of presumptions. A frame's terminals are normally already filled with "default" assignments. (1979 [1975]: 1-2) To illustrate the uses of frame theory as a general theory of cognition and knowledge, Minsky discusses cases of visual perception such as seeing a room, the semantic processing of ungrammatical sentences, and the understanding of stories and various social scenarios. Given the wide scope of frame theory, a frame conceptualization of Franz K. Stanzel's (1984) concept of narrative situations clearly falls within its range of possible applications. Although primarily conceived as tools of narratological taxonomy, the narrative situations emphasize pragmatic and cognitive detail. Part of their integrative power derives from Stanzel's decision to describe "ideal types," a notion that corresponds closely to the frame-theoretical "defaults." Despite such promising points of contact, however, a frame-oriented conceptualization of narrative situations Halasz 1987; Harker 1989; Ibsch 1990; Ryan 1991; Weber 1992; Gerrig 1993; Andringa and Davis 1994; Cook 1994; Duchan et al. 1995; as well as in several articles in New Literary History 20:2 (1989) and Poetics 19:1 (1990). Readers may also want to refer to the forthcoming papers of the 1995 Utrecht conference, Narrative Perspective: Cognition and Emotion, edited by Will van Peer and Seymour Chatman. This content downloaded from 157.55.39.70 on Tue, 06 Sep 2016 05:10:32 UTC All use subject to http://about.jstor.org/terms Jahn ? Toward a Cognitive Narratology 443 is not immediately obvious. Certainly, Stanzel's own design of a "typological circle," despite achieving an impressive featural synthesis (Cohn 1981: 159), cannot satisfactorily represent the complex dependencies, intricate hierarchies, correlations, and restrictions pertaining to person, mediacy, perspective, and narrative mode that are usually apparent in any discursive account of the narrative situations. It would seem possible, however, to enlarge on Mieke Bal's (1981) proposal that the formula X relates that r sees that Z does constitutes a miniature general model of narrative situation. In Bal's formula, X is a narrator, Y a focalizer, and Z one or several actors. According to Bal, if the narrator is a focalizer and also one of the actors, the narrative situation corresponds to homodiegetic (first-person) fictional "autobiography." But if the narrator does not take part in the action, the narrative situation is a heterodiegetic, "realist" (ibid.: 45) one, which is more or less the extent of Bal's utilization of the formula. In later elaborations of the various narrator-focalizer relations (Bal 1985: 120), she resorts to a different type of formalization that is less germane to my present purpose. Marrying Stanzel's narrative situations to Bal's formula requires some adjustments in the latter. First, I will extend the formula to include a "receiver" (R) to represent the narratee, that is, the narrator's fictional immediate addressee. Thus X tells R that sees that Z does conveniently installs the text-internal pragmatic dimension and provides a possible projection of text-external pragmatics. Second, Bal's focalizer will be understood to be a reflector in Stanzel's sense, in other words, a characterial center of consciousness (I will make no use here of "external" or narrator-focalizers). Third, two cases will be separated out, one without a reflector-X tells R that Z does-and one with a covert or withdrawn narrator(X tells R that) sees Z does. These two cases correspond to Stanzel's authorial and figural narrative situations, respectively. The structural trees shown below (representing the basic syntactic relations of the respective formulas) can now serve as intuitive frame visualizations of the three major third-person narrative situations.2 In (2), the rounded squares denote the extent of narratorial control, the ellipses or "spotlights of consciousness" (Stanzel 1984: 155) indicate reflectorial seeing, the "clipboard" icons represent sets of conditions, and the small black boxes under the clipboards represent the terminal slots that hold the various agents-narrators, narratees, reflectors, and actors. Despite the drastic simplifications, (2) enables one to visualize frames as hier2. Strictly speaking, only A and C correspond to Stanzel's two "ideal" third-person types; B is an "intermediate" or "mixed" type. This content downloaded from 157.55.39.70 on Tue, 06 Sep 2016 05:10:32 UTC All use subject to http://about.jstor.org/terms 444 Poetics Today 18:4 (2) Third-person narrative situations as frames:

Narrative Voice and Agency in Drama: Aspects of a Narratology of Drama

Abstract: the social scene, any scene. I write plays, when I can manage it, and that's all. That's the sum of it. So I'm speaking with some reluctance, know ing that there are at least twenty-four possible aspects of any single statement, depending on where you are standing at the time or on what the weather's like. A categorical statement, I find, will never stay where it is and be finite. It will immediately be subject to modification by the other twenty-three possibilities of it.1

Windows of Focalization: Deconstructing and Reconstructing a Narratological Concept

Abstract: In general, focalization theory addresses the options and ranges of orientational restrictions of narrative presentation. Gerard Genette first associated focalization with a "focal character" and the questions who sees? and who perceives? Following Mieke Bal, however, many narratologists now believe that focalization covers a much wider scope than either vision or perception and that the narrator is a potential "focalizer," too. First-generation narratologists like Genette and Seymour Chatman view this expanded scope with considerable skepticisms, and despite such convincing recent applications as William Edmiston's Hindsight and Insight, focalization theory at present is caught in a dilemma of conflicting approaches. My attempt to sort out these various approaches begins by reviving the original field-of-vision conception as the basis for defining a general framework and key concepts of focalization. Section 2 deconstructs the major axioms of focalization expounded by Genette. Section 3 traces the theme of "seeing" in fiction to Henry James's "house of fiction" and its million windows: drawing from George Lakoff and Mark Johnson's treatment of natural metaphors, Ray Jackendoff's theory of cognitive interfaces, and Werner Wolf's concept of aesthetic illusion, I reclaim James's window metaphor as a core model of focalization, defined on the basis of cognition and reception. Finally, section 4 considers Chatman's argument against focalizing narrators and the problem of "embedded" focalization. Throughout, my aim is to argue for an interdisciplinary, integrative, and non-dichotomous approach towards focalization. 1. FOCUS-1 AND FOCUS-2 Let me begin with a few simple vision-related questions. How do we define our "field of vision?" Does it have a specific shape? Does it support the notion of an "angle of vision?" Where in this field does one place oneself, the observer? Does this field have a "horizon," a "point of view?" Does it allow us to "focus on" certain objects and to leave other objects "unfocused?" How does it relate to "the world?" The answers to these questions may elicit a model that looks (more or less) like (1), below:(1) In (1), the field of vision (V) is represented as having a conical shape like that of the area lit by a torch. It is taken in by an eye and its shape determined by an angle of vision. The eye, represented more technically, is a convex lens (L) that collects rays by refraction - a kind of controlled distortion - in a "burning point" or focus (F1), referred to hereafter as focus-1. Like a photographic lens, the eye is adjustable, allowing it to pick out and concentrate on a subsection of the visual field, also commonly called focus or area in focus (F2), henceforth focus-2 or focus of interest or focus of attention. If focus-1 stands metonymically for the eye's owner, then focus-1 and focus-2 are alternate terms for what Bal, Shlomith Rimmon-Kenan, Marjet Berendsen, Ansgar Nunning, Edmiston, and others call, respectively, the subject and the object of focalization. Finally, the field-of-vision area in figure (1) covers a part of "the world" (W), represented simplistically as a circle. At this point it must of course be acknowledged that (1), like all models, is an idealized and reductive abstraction; in fact, I might as well admit that it contains a number of inaccuracies.(2) But although it says little about the actual mechanisms of seeing, it will, I hope, say much about how we think we see things. And although the model depicts V, F2, and W as if they were sets in a Venn diagram - inviting one to play around with objects that are visible or invisible, seen centrally or peripherally, close up or far off, and so on - my aim is not to make a philosophical statement either about the nature of these objects or about what philosophers call the "veridicality" of their perception. Rather, (1) is an attempt to construct a mental model of vision (Johnson-Laird), detailing "a set of notions about [one's] own inner structures" (Hofstadter 282). …

Basic elements of narrative

Abstract: List of Illustrations. The Elements. Preface . The Scope and Aims of This Book. Storytelling Media and Modes of Narration. Acknowledgments . 1. Getting Started: A Thumbnail Sketch of the Approach Developed in This Book. Toward a Working Definition of Narrative. Profiles of Narrative. Narrative: Basic Elements. 2. Background and Context: Framing the Approach. Interdisciplinary Perspectives on Narrative and Narrative Theory. Major Trends in Recent Scholarship on Narrative. 3. Back to the Elements: Narrative Occasions . Situating Stories. Sociolinguistic Approaches. Positioning Theory. The Narrative Communication Model. Conclusion. 4. Temporality, Particularity, and Narrative: An Excursion into the Theory of Text Types. From Contexts of Narration to Narrative as a Type of Text. Text Types and Categorization Processes. Narrative as a Text-Type Category: Descriptions vs. Stories vs. Explanations. Summing up: Text Types, Communicative Competence, and the Role of Stories in Science. 5. The Third Element: Or, How to Build a Storyworld . Narratives as Blueprints for Worldmaking. Narrative Ways of Worldmaking. Narrative Worlds: A Survey of Approaches. Configuring Narrative Worlds: The WHAT, WHERE, and WHEN Dimensions of Storyworlds. Worlds Disrupted: Narrativity and Noncanonical Events. 6. The Nexus of Narrative and Mind . The Consciousness Factor. Consciousness Across Narrative Genres. Experiencing Minds: What It's Like, Qualia, Raw Feels. Storied Minds: Narrative Foundations of Consciousness?. Appendix . Reproduction of Ernest Hemingway's "Hills Like White Elephants" (1927). Transcript of a Story Told during Face-to-Face Interaction: UFO or the Devil. Pages from Daniel's Clowes's Graphic Novel Ghost World (1997). Screenshots from Terry Zwigoff's Film Version of Ghost World (2001). Glossary . References. Index

KARL BUHLER: THEORY OF LANGUAGE: The representational function of language

Abstract: Karl Buhler (1879-1963) was one of the leading theoreticians of language of this century. His masterwork Sprachtheorie (1934) has been praised widely and gained considerable recognition in the fields of linguistics, semiotics, the philosophy of language and the psychology of language. The work has, however, resisted translation into English partly because of its spirited and vivid style, partly because of the depth and range of analysis, partly because of the great erudition of the author, who displays a thorough command of both the linguistic and the philosophical traditions. With this translation, Buhler's ideas on many problems that are still controversial and others only recently rediscovered, are now accessible to the English-speaking world.Contents: The work is divided into four parts. Part I discusses the four “axioms” or principles of language research, the most famous of which is the first, the “organon model”, the base of Buhler's instrumental view of language. Part II treats the role of indexicality in language and discusses deixis as one determinant of speech. Part III examines the symbolic field, dealing with context, onomatopoeia and the function of case. Part IV deals with the elements of language and their organization (syllabification, the definition of the word, metaphor, anaphora, etc).The text is accompanied by: Translator's preface; Introduction (by Achim Eschbach); Glossary of terms and Bibliography of cited works (both compiled by the translator); Index of names, Index of topics.

An Introduction to Narratology

Abstract: An Introduction to Narratology is an accessible, practical guide to narratological theory and terminology and its application to literature. In this book, Monika Fludernik outlines: the key concepts of style, metaphor and metonymy, and the history of narrative forms narratological approaches to interpretation and the linguistic aspects of texts, including new cognitive developments in the field how students can use narratological theory to work with texts, incorporating detailed practical examples a glossary of useful narrative terms, and suggestions for further reading. This textbook offers a comprehensive overview of the key aspects of narratology by a leading practitioner in the field. It demystifies the subject in a way that is accessible to beginners, but also reflects recent theoretical developments and narratology’s increasing popularity as a critical tool.

Psychonarratology: Foundations for the Empirical Study of Literary Response

Abstract: Psychonarratology is an approach to the empirical study of literary response and the processing of narrative. It draws on the empirical methodology of cognitive psychology and discourse processing as well as the theoretical insights and conceptual analysis of literary studies, particularly narratology. The present work provides a conceptual and empirical basis for this interdisciplinary approach that is accessible to researchers from either disciplinary background. An integrative review is presented of the classic problems in narratology: the status of the narrator, events and plot, characters and characterization, speech and thought, and focalization. For each area, Bortolussi and Dixon critique the state of the art in narratology and literary studies, discuss relevant work in cognitive psychology, and provide a new analytical framework based on the insight that readers treat the narrator as a conversational participant. Empirical evidence is presented on each problem, much of it previously unpublished.