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Story and Discourse: Narrative Structure in Fiction and Film
31 May 1980-
About: The article was published on 1980-05-31 and is currently open access. It has received 1885 citations till now. The article focuses on the topics: Narrative structure & Narrative criticism.
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TL;DR: The authors examines the functions of narrative gaps in the creation and manipulation of knowledge in Flannery O'Connor's fiction and demonstrates the presence of an attenuated announced gap in O’Connor’s fiction in the use of the indefinite pronoun something.
Abstract: This article examines the functions of narrative gaps in the creation and manipulation of knowledge in Flannery O’Connor’s fiction. A distinction is first made between the announced and the unannounced gap, the latter being the general type that occurs most frequently in modern fiction, including that of O’Connor. The form and functions of the announced gap are briefly discussed with reference to 18th-century narratives. The article demonstrates the presence of an attenuated announced gap in O’Connor’s fiction in the use of the indefinite pronoun something. It also makes distinctions between the narrative gap, the ellipsis, and general narrative indeterminacy. The attenuated announced gap and the unannounced gap help to produce involvement of the reader in creating the emotional, spiritual, and rational background for an O’Connor narration. These narrative gaps are stylistically indicative of O’Connor’s prose from her earliest to her latest fiction, both in the particular forms that they take and in their...
11 citations
Cites background from "Story and Discourse: Narrative Stru..."
...There are various terms for this absence: the gap (Bell, 1986), the blank (Iser, 1978), the ellipsis (Chatman, 1978; Genette, 1980; Toolan, 2001), the nonnarrated (Prince, 1988)....
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...There is a general consensus that there is an increasing prevalence of implicit gaps in modern narratives (Chatman, 1978: 71)....
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TL;DR: This paper used cognitive grammar to examine the relationship between creativity and the unique situations that give rise to writing in a diary entry and two subsequent rewritings of that entry by the First World War poet and soldier Siegfried Sassoon.
Abstract: Cognitive Grammar has emerged in recent years to become an established analytical method in cognitive stylistics. Although one of its key affordances is that it provides a robust framework for analysing the different ways in which scenes can be depicted, researchers have yet to develop an account of how Cognitive Grammar can support a detailed analysis of authorial creativity. This paper aims to redress the balance by using Cognitive Grammar to examine the relationship between creativity and the unique situations that give rise to writing in a diary entry and two subsequent rewritings of that entry by the First World War poet and soldier Siegfried Sassoon. The paper combines ideas on contextual constraints with a text-driven, Cognitive Grammar-oriented analysis to demonstrate how a contextualized approach highlights the ways in which Sassoon's writing is motivated by particular physical, social and cultural environments. These include the interaction with and reconfiguration of the material body within the physical setting of the military trench.
11 citations
03 Nov 2020
TL;DR: A conceptual model of data narrative for exploratory data analysis based on four layers that reflect the transition from raw data to the visual rendering of the data story: factual, intentional, structural and presentational is proposed.
Abstract: Data narration is the activity of producing stories supported by facts extracted from data analysis, possibly using interactive visualizations. In spite of the increasing interest in data narration in several communities (e.g. journalism, business, e-government), there is no consensual definition of data narrative, let alone a conceptual or logical model of it. In this paper, we propose a conceptual model of data narrative for exploratory data analysis. It is based on four layers that reflect the transition from raw data to the visual rendering of the data story: factual, intentional, structural and presentational. This model aims to support the entire lifecycle of building a data narrative, starting from an intentional goal: fetch and explore data, bring out highlights, derive important messages, structure the plot of the data narrative, and render it in a visual manner. Our contributions include a description of the model and its instantiation for several real examples showing that it covers data narration needs.
11 citations
TL;DR: The field of narratology is concerned with the study and analysis of narrative texts as discussed by the authors, which puts under investigation literary pieces of language and yields an understanding of the components has in its very texture.
Abstract: The field of narratology is concerned with the study and analysis of narrative texts. It puts under investigation literary pieces of language and yields an understanding of the components has in its very texture. The aim of this article is to provide insights about the field of ‘narratology’ and its associated subject of study ‘narrative’. It also tries to sketch the main issues concerning these two concepts. For this, the present review is presented in two major sections, each with related discussions about narratology and narrative. The first major part, narratology, will be presented in three sections: the first section, deals with the definitions and origins of narratology. The definitions are inspected and the researchers show how they go from general (encompassing all which is narrated) to more specific (encompassing literary narratives told by a narrator) ones. The second section, focuses on the two phases of narratology which are classical and post-classical ones in which narratology changed its orientations and scope. The last section is devoted to some of the elements and components of which narratology is made up, such as narration, focolization, narrative situation, action, story analysis, tellability, tense, time, and narrative modes which will be elaborated on in more details. The second major part, narrative, will be presented in four sections: first the concept will be defined and introduced. Then the features which make a narrative will be specified and elaborated on. In the third section, some of the elements of narratives like story, discourse, events, and existents are stressed. In the last section, it is elucidated that narrative is not just a written printed genre, rather it consists of performed genres such as plays, films, and operas.
11 citations
Cites background from "Story and Discourse: Narrative Stru..."
...Chatman (1978) reports that the distinction between story and discourse has been considered since Aristotle’s Poetics when he differentiated between logos and mythos....
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...Mcquillan (2000) cites from Chatman (1978) some on spot definitions in this respect....
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...Along with existents, events are the fundamental constituents of the story”, and an existent is “an actor or important object within a story (e.g. ‘Batman drives the batmobile’) (Chatman, 1978, as cited in Mcquillan, 2000, p. 318)....
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...In this respect, Chatman’s (1990) distinction between narrative “text-types” and “non-narrative text-types” (argument, exposition, description) insinuates the presence of a property (1990, p....
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...(Chatman, 1978, pp. 97-98) Another point is the distinction between story, discourse, and manifestation which Chatman highlights....
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TL;DR: In this article, the effects of Charles Sanders Peirce's theory of signs on the development of a clear methodological principle for the narrative studies, particularly for the signification of literary discourse, are discussed.
Abstract: Semiotics principally investigates and explores the production and function of signs and sign systems as well as the methods of their signification. It is mainly concerned with how a sign signifies and what precedes it at deeper level to result in the manifestation of its meaning. For this purpose, it offers a set of unified principles that underlie the construction, signification and communication of any sign system. The literary text as a sign system serves as an artfully constructed fictional discourse that can be signified as the same way of the signification of other sign systems. This article explains the effects of Charles Sanders Peirce's theory of signs on the development of a clear methodological principle for the narrative studies, particularly for the signification of literary discourse. So it tries to give a new direction to the signification of literary discourse on the basis of the Peirce's theory of signs and cognitive theories. It mainly provides a semiotic method for the signification of literary discourse.
11 citations