espanolLa memoria de la sublevacion militar de 1936 y el franquismo se ha convertido en uno de los temas mas cultivados en la narrativa gallega de los ultimos anos, en el contexto de la emergencia de la llamada “memoria historica” en el conjunto del Estado espanol y de un creciente interes polo pasado reciente traumatico en todos los ambitos de la esfera publica. El objetivo principal de esta tesis doctoral es estudiar este fenomeno emergente desde el punto de vista literario y en relacion con su dimension social, mediante un analisis exhaustivo de las formas de representacion del franquismo en un corpus representativo de novelas de la memoria publicadas en el periodo 2000-2015. La aproximacion a estas obras de ficcion desde la perspectiva de los estudios de la memoria cultural permite constatar especialmente la relacion entre los textos y el contexto en el que se producen, por el que estan fuertemente influenciados, asi como demostrar que estas practicas literarias funcionan como medios de construccion de la memoria colectiva de la sociedad gallega del siglo XXI, a traves de las cuales los autores y autoras participan en el debate publico en torno a la recuperacion y gestion del pasado reciente. portuguesA memoria do golpe de Estado de 1936 e do franquismo tornou-se um dos temas mais cultivados na narrativa galega dos ultimos anos, no contexto da emergencia da chamada “memoria historica” em todo o Estado espanhol e de um crescente interesse pelo passado traumatico recente em todas as areas da esfera publica. O objectivo principal desta tese de doutoramento e estudar este fenomeno emergente do ponto de vista literario e em relacao a sua dimensao social, atraves de uma analise exaustiva das formas de representacao do franquismo num corpus representativo de romances da memoria publicados no periodo 2000-2015. A abordagem destas obras de ficcao a partir da perspectiva dos estudos da memoria cultural permite-nos ver especialmente a relacao entre os textos e o contexto em que sao produzidos, pelo qual sao fortemente influenciados, bem como demonstrar que estas praticas literarias funcionam como um meio de construcao da memoria colectiva da sociedade galega no seculo XXI, atraves das quais os autores e autoras participam no debate publico sobre a recuperacao e gestao do passado recente. EnglishThe memory of the 1936 Spanish coup d'etat and Francoism has become one of the most cultivated themes in Galician narrative in recent years, in the context of the emergence of the so-called “historical memory” in the Spanish State as a whole and of a growing interest in the recent traumatic past in all areas of the public sphere. The main objective of this doctoral thesis is to study this emerging phenomenon from the literary point of view and in relation to its social dimension, by means of an exhaustive analysis of the forms of representation of Francoism in a representative corpus of novels of memory published in the period 2000-2015. The approach to these fictional narratives from the perspective of the Cultural Memory Studies allows us to see especially the relationship between the texts and the context in which they are produced, by which they are strongly influenced, as well as to demonstrate that these literary practices function as a means of constructing the collective memory of Galician society in the 21st century, through which authors participate in the public debate on the recovery and management of the recent past. galegoA memoria da sublevacion militar de 1936 e do franquismo tense convertido nun dos temas mais cultivados na narrativa galega dos ultimos anos, no contexto de eclosion da denominada “memoria historica” no conxunto do Estado espanol e dun crecente interese polo pasado traumatico recente en todos os ambitos da esfera publica. O obxectivo principal desta tese de doutoramento e estudar este fenomeno emerxente do punto de vista literario e en relacion coa sua dimension social, a traves da analise exhaustiva das formas de representacion do franquismo nun corpus representativo de novelas da memoria publicadas no periodo 2000-2015. A aproximacion a estas obras de ficcion desde a perspectiva dos estudos de memoria cultural permite reparar especialmente na relacion entre os textos e o contexto en que se producen, polo que se ven fortemente influidos, ben como comprobar que estas practicas literarias funcionan como medios de construcion da memoria colectiva da sociedade galega do seculo XXI, a traves das que os autores e autoras participan no debate publico en torno da recuperacion e xestion do pasado recente.

Close Reading Today: From Narratology to Cultural Analysis

Novela e memoria cultural: a ficcionalización do franquismo na narrativa galega (2000-2015)

ion. For example, one of their categories is “Undesirable outcome” (1074), which seems to be at a level of abstraction above such categories as “Death of a loved one” and “Loss of a relationship” (1074; indeed, the second seems to be a case of the third which seems, in turn, to be a case of the first). But, insofar as they are concrete enough to count as prototypical, the categories they uncover are clearly in line with the preceding analysis. Thus, the eliciting conditions for sadness prominently include the two just mentioned, which are closely related to the prototype of happiness as romantic union. Other prototypes include “Discovering one is powerless” (1074), which is clearly related to the prototype of happiness as power. In relation to happiness itself, they isolate only three categories that are not overly abstract. These are “Receiving esteem, respect, praise,” “Being accepted, belonging,” and “Receiving love, liking, affection” (1075). The first is clearly connected with the prototype of happiness as power or authority. The third category is clearly related to the prototype of happiness as romantic union. The second category relates to both. Indeed, it relates to both in a way that bears on emplotment. Commonly, the conflicts that define the middle of a plot are resolved in such a way that the larger society comes together and there is an extension of acceptance and belonging in the end (e.g., through the reconciliation of parents and children in the romantic plot). In short, we seem to have some good prima facie evidence for positing two happiness prototypes. The point is not confined to modern America and Europe. Clearly, there were no broad scientific surveys or controlled experimental studies of emotion in premodern societies. However, there are highly regarded discussions and widely accepted ideas—such as the ancient Indic isolation of goals—that provide converging evidence. For example, Chikamatsu, widely thought of as one of the two greatest dramatists of Japan, wrote that, “The only happiness in this broad world” is “True love to true love” (234). The celebrated Malian Epic of Son-Jara states that “All people . . . seek to be men of power” (Sisòkò, I. 1277–78). Euripides’ Hecuba expresses both, lamenting the death of Astyanax: “if you had enjoyed youth and wedlock and the royal power that makes men gods, then you would have been happy” (200). These literary references lead to the second line of research. In order to consider cross-cultural prototypes in narrative, I set out to read a wide range of highly esteemed works of verbal art in unrelated literary traditions. I took up highly esteemed works as it seemed that they were most likely to express common narrative and emotional tendencies in a given culture or period. One crucial feature of a prototype-based account of

Theory and Interpretation of Narrative

In his article "From Narrative Representation to Narrative Use: Towards the Limits of Definition," David Rudrum argues that definitions of narrative based on what the text represents are fundamentally flawed: "As long as narratology remains tied to [a conception of narrative as representation], and tied to a philosophy of language that foregrounds signification above and before questions of use and practice, it seems that a satisfactory way of defining and classifying its subject matter will continue to elude it" (203). Here, in a nutshell, is the argument. Narrative has traditionally been defined as the representation of a sequence of events. But this definition fails to capture the distinction between a set of instructions for building model airplanes (Figure Two in the text) and what Rudrum regards as a genuine narrative, namely a Calvin and Hobbes comic strip (Figure One). To distinguish the narrative status of these two representations of sequences of events, we must take into consideration how the text is used.

Semantics, Pragmatics, and Narrativity: A Response to David Rudrum

1. Whither Narratology? The histories and respective achievements of structuralist narratology and German contributions to narrative theory (Erzahltheorie) have recently become the subject of a controversy. While David Darby's article "Form and Content: An Essay in the History of Narratology" pits classical narratology against the history of German narrative theory, arguing that narratology should be remodeled into a contextualist theory of interpretation, other narratologists have criticized both his presentation of German narrative theory and his suggestion that such a "contextualist narratology" necessarily requires the ill-defined concept of the implied author. Monika Fludernik has pointed out that German contributions to narrative studies are much broader and more varied than Darby's essay suggests ("History"). Tom Kindt and Hans-Harald Muller have taken Darby to task for failing to provide convincing reasons for his claims regarding the purported need for a change in narratology's aims and for widening its research domain ("Narratology"). This controversy and the different accounts the participants have offered of the history of narrative theory are interesting not only from the point of view of the light they shed on the complex developments and international ramifications of narratology. They also metonymically illustrate what is at slake in the current debates about the directions into which narratology is moving. Hardcore structuralist narratologists are very sceptical about several of the so-called "new narratologies" collected in David Herman's recent volume Narratologies, suspecting that they will inevitably lead to a contamination that infects "pure" and "neutral" description with the taint of ideology and relativism. In contrast to the purists who want to make "the world safe for narratology," as John Bender aptly put it ("Making"), practitioners of the various postclassical narratologies intrepidly rush in where structuralists fear to tread. Whether or not they are fools in so doing may be an open question, but their work has arguably opened up productive lines of research. Nonetheless, one cannot rail to notice that the question asked in the title of an illuminating collection of articles edited by Kindt and Muller (What is Narratology?) has recently received quite different and even contradictory answers. There no longer seems to be a consensus about either the main aims or objectives of narratology or about the extension of its research domains. Echoing Christine Brooke-Rose's title "Whatever Happened to Narratology?" one may at this stage well ask "Whither narratology?" Instead of reviewing these debates, providing yet another survey of recent developments in narratology, (1) of trying to act as arbiter of hostilities, the present essay pursues three more modest goals: to sketch out some of the premises and concepts of an applied cultural narratology that puts the analytical toolkit developed by narratology in the service of context-sensitive interpretations of novels, to provide a typological overview of new kinds of historical fiction partly based on narratological categories, and to indicate how the latter may be used in order to tease out the epistemological and ethical implications of what has come to be known as "historiographic metafiction." I hope to show that cultural analyses and interpretations of narratives in general, and research on historiographic metafiction in particular, would stand to gain a lot by actually applying the categories provided by narratology. Using historiographic metafiction as a case study for testing the usefulness of a new kind of cultural narratology, I would like to argue that such dichotomies as the one between "the uncontaminated fields of 'classical' narratology" and the "contextualist dimensions of contemporary 'postclassical' narratological scholarship" (Darby, "Form and Context Revisited" 423) should not be exaggerated. They arguably present us with a set of false choices: between text and context, between form and content as well as form and context, between formalism and contextualism, between bottom-up analysis and top-down synthesis, and between "neutral" description and "ideological" evaluation. …

https://www.jstor.org/stable/10.5325/style.38.3.352

Where Historiographic Metafiction and Narratology Meet: Towards an Applied Cultural Narratology

/pdf/narrative-strategies-in-selected-amharic-novels-from-2000-c2pddorgr1.pdf

Close Reading Today: From Narratology to Cultural Analysis

Citations

Novela e memoria cultural: a ficcionalización do franquismo na narrativa galega (2000-2015)

Theory and Interpretation of Narrative

Semantics, Pragmatics, and Narrativity: A Response to David Rudrum

Where Historiographic Metafiction and Narratology Meet: Towards an Applied Cultural Narratology

Narrative strategies in selected Amharic novels from 2000 until 2010

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