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.

An Introduction to Narratology

The thesis is focused on residents at senior citizens homes and their subjective view about the importance of various indicators concerning quality of life which are influenced by regular physical activity. The research was performed within the Bruntal region and included eighty-five informants. The first part of SQUALA standardized questionnaire was used for collecting information about the quality of life, in particular to discover the subjective importance of component dimensions, and data about physical activity was collected by means of the IPAQ standardized questionnaire. The thesis is based on methodology of the research plan for MSVVaS SR VEGA project No. 1/0702/10 solved at Faculty of Natural Sciences of Comenius University in Bratislava. The findings have shown that the most important indicator for the participating group of informants is their health. The physical self -sufficiency and capability to take care of oneself has come second and at the same time the informants consider regular physical activity not very important. By making a comparison of both researches considerable differences between their findings have been found out. Both inter-individual and intra-individual differences, such as probands’ age, gender, knowledge, regularity, intensity, and frequency of physical activity, were taken into consideration in the evaluation process of individual indicators as well as dimensions. It was revealed that also those variables af fect the subjective perception of life-quality. Probands aged under sixty-nine are more interested in indicators of physical health and the level of physical self -sufficiency dimension than the other participants. Physically active people attach great significance to surroundings as a dimension alongside all variables which are in connection with physical activity. A statistically significant finding of the evaluation in terms of gender was that female-informants attach greater significance to mental health as well as social relationships dimension than male-informants and that differences occured at two less important indicators as far as the evaluation is concerned.

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Univerzita palackého v olomouci

Owing to the lack of concrete information provided by the narratives and the genreʼs unspecified setting, narrative space in fairy tales has been largely overlooked or dismissed as an inactive background for the action. Research which has considered this topic typically views it in terms of its symbolic potential, studying space in order to learn about other narrative elements (e.g. characters) or the implied meanings of the texts. This dissertation views narrative space as a concrete, material aspect of the narrative which is significant in itself. The main research question posed in the dissertation is: what do fairy tales tell us about narrative space and what does narrative space tell us about fairy tales? The main aim of the dissertation is therefore twofold: first, it examines how narrative space is structured in fairy tales and how the fairy tale conveys space-related information; second, it asks whether there is anything about the traits and structure of fairy-tale space that can be seen as genre-specific, i.e. that sets the fairy tale apart from other short prose narrative genres. The research is based on a textual analysis of the English translation of Jacob and Wilhelm Grimmʼs collection Kinder- und Hausmarchen (Childrenʼs and Household Tales, 1857). While its primary focus is on fairy tales, the dissertation also considers other genres included in the collection (animal tales, legends, religious tales, etc.). The research combines the knowledge produced within fairy-tale scholarship (folklore and literature studies) with the methodological tools of narratology. By considering narrative space and spatial transference, the dissertation aims to prompt a reconsideration of the fairy-tale genre and its definitions. One of its key findings is therefore a revised definition of the fairy tale as a genre which encompasses two domains – the magical and the non-magical – separated by a firm boundary, which must be crossed in the course of the story. What sets this interdomain boundary apart is the fact that it can be crossed from both sides, but only temporarily and only if certain conditions are met. The examination of genres through the prism of the domain has led to a reconsideration of our initial genre classification and prompted the conclusion that aetiological tales, Schwank tales, and didactic tales, which were initially listed as independent genres, are modes (subgenres) rather than genres. The thesis also shows that fairy-tale space is dynamic and relational, and that the lack of explicit spatial information should not be seen as an indication of the insignificance of space, but rather an expression of the genreʼs stylistic parsimony. Although the findings are based on the study of the Grimmsʼ fairy tales, the dissertation aims to provide an analytical framework that is applicable to other fairy-tale corpora.

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Narrative space and spatial transference in Jacob and Wilhelm Grimmʼs fairy tales

Cette these porte sur le renouvellement du realisme dans la production narrative espagnole des annees 2000, a partir d’un corpus de quatre romans, et se demande : en quoi consiste l’esthetique realiste actuelle, quelle est son epistemologie et quel lien entretient-elle avec d’autres discours de savoir ? Quel role jouent les recits realistes dans la configuration des imaginaires sociaux, alors que sont remis en question l’heritage de la transition democratique et le recit de la modernisation espagnole ? Sont d’abord examinees les conditions de possibilite historiques, socio-economiques et culturelles d’un renouveau du realisme – cartographie dans le champ litteraire des vingt dernieres annees. Hypothese centrale : le realisme ressurgit du fait que les debats de memoire historique depuis 2000 et la crise economique, sociale et politique depuis 2008 engagent une revision du mythe de la Transition et du projet de la modernite qui structurait les imaginaires sociaux espagnols depuis les annees 1960. Trois parties proposent des etudes de poetiques realistes, en diachronie et en synchronie, pour mettre en valeur l’evolution des modes de referentialite realistes entre le debut des annees 2000 et le debut des annees 2010, avec la crise de 2008 et ses premices pour point d’inflexion. La premiere partie porte sur deux romans (Antonio Munoz Molina, Sefarad, 2001 et Ignacio Martinez de Pison, Enterrar a los muertos, 2005) qui dialoguent avec la fabrication sociale de documents et l’historiographie pour reinterpreter la guerre de 1936, de la dictature et de la transition. Les deuxieme et troisieme parties (Rafael Chirbes, Crematorio, 2007, et Isaac Rosa, La mano invisible, 2011) analysent l’elaboration d’un recit collectif de l’Espagne developpementaliste, a l’aube de la crise, par des romans qui dialoguent avec la theorie economique et la sociologie historique. Au carrefour du litteraire, des discours sociaux, de l’histoire et de la sociologie contemporaine de l’Espagne, cette these soutient que la reappropriation du realisme dans les annees 2000 participe a la remise en question d’une identite nationale democratique et moderne, au resurgissement d’une realite problematique et d’imaginaires sociaux paramodernes apres l’ecroulement du metarecit d’une transition modele. Si les romans cherchent tous a prendre en charge le reel social selon ses representations, ils se differencient par leur traitement de la question politique de ce que « reel » veut dire, par le choix du chemin selon lequel le decrire, et par l’evaluation de la nature des causes historiques et materielles de la realite qu’habitent les ecrivains.

https://tel.archives-ouvertes.fr/tel-01746009/document

Nouveaux réalismes et imaginaires sociaux de la modernité dans le roman espagnol contemporain (2001-2011)

This study deals with the influence of film form in fiction in terms of narrative discourse, focusing on issues of genre, narration, temporality, and the imitation of cinematic techniques. It provides a theoretical analysis of different methodologies (intermediality theory, semiotics, narratology, genre theory) which are useful to assess how a cinematic dimension has found a place in literary writing. This research, in particular, puts forth the idea of a 'para-cinematic narrator', a 'flattening of the narrative relief', and a 'para-cinematic narrative contract' as constitutive items of strongly cinematised fiction. These three theoretical items are subsumed in the concept of 'cinematic mode in fiction', which describes a distillation of characteristics of the film form on the written page. This research therefore represents a theoretical attempt to demonstrate how the cinematic component integrates the stylistic and generic traits of novels and short stories relating to different periods, styles and genres of the twentieth century. The proposed theoretical model is tested on a corpus of American, French, and, especially, Italian case studies. The remediation of film that emerges from these texts points to a complex interconnection between cinema and literature which still requires full acknowledgment in literary history.

The cinematic mode in twentieth-century fiction a comparative approach

This book is a standard work for modern narrative theory. It is a translation and expansion of the Russian work "Narratologija" (Moscow 2003) and presents a comprehensive foundation for narratology. The author explains and discusses in detail problems of communication structure and instances, narrative perspective, the relationship between narrator's text and person's text, and the narrativity of literary texts and the texts as events. The focus is formed by the constitutive structures of fictional narrative texts. The book postulates a theory of narration and analyses central narratological categories such as fiction, mimesis, author, reader, narrator, narrative perspective, text, story, narrative time etc. against the background of the history of narrative research. The result is a fundamental definition of the constitutive characteristics of narrative texts which provides a terminological and theoretical system of reference for future research in narrative theory. A detailed bibliography and glossary of narratological terms make this book a compendium of narrative theory which is of relevance for scholars and students of all literary disciplines. In addition, the book develops a new methodological basis for future researchers.

Elemente der Narratologie

This book is a standard work for modern narrative theory. It provides a terminological and theoretical system of reference for future research. The author explains and discusses in detail problems of communication structure and entities of a narrative work, point of view, the relationship between narrator's text and character's text, narrativity and eventfulness, and narrative transformations of happenings. The book outlines a theory of narration and analyses central narratological categories such as fiction, mimesis, author, reader, narrator etc. A detailed bibliography and glossary of narratological terms make this book a compendium of narrative theory which is of relevance for scholars and students of all literary disciplines.

Narratology: An Introduction

Stories do not actually exist in the world but are created and structured - modeled - through the process of mediation, i.e. through the means and techniques by which they are represented. This is an important field, not only for narratology but also for literary and media studies. The articles in this volume, contributed by international scholars from seven countries, address this problem anew by reviewing the differentiation of mediation and re-defining its dimensions both in literary texts and other media such as drama and theater, film, and computer games.

Wolf Schmid

Papers

Elemente der Narratologie

Narratology: An Introduction

Point of view, perspective, and focalization : modeling mediation in narrative

Der Textaufbau in den Erzählungen Dostoevskijs

Narrativity and Eventfulness