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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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Dissertation•
01 Jan 2012
7 citations
01 Jan 2002
7 citations
TL;DR: This paper argued that historians should engage with a range of theorists who have variously discussed time such as McTaggart, Dilthey, Rorty, Ricoeur, Genette and Chatman, concluding that the fictive understanding of time demands the attention of historians.
Abstract: In a commentary on Philip Ethington's paper it is acknowledged that historians apparently do tend to ignore time believing they have little reason to tinker, it being a concept tangential to their main interests. But this is not, in fact, the case. It might be through inadvertence and not thinking about time in the way Ethington does in his estimable paper, but historians are, of course, centrally concerned with time. Quoting the historian of the American frontier Frederick Jackson Turner as a paradigmatic case it is suggested that historians should engage with a range of theorists who have variously discussed time such as McTaggart, Dilthey, Rorty, Ricoeur, Genette, and Chatman, concluding that the fictive understanding of time demands the attention of historians.
7 citations
Cites background from "Story and Discourse: Narrative Stru..."
...…history, noting in particular the timing of emplotment in terms of ‘beginning, middle and end’.2 As Chatman says, this works pretty well in fiction but it cannot organise past reality because reality can never know where it is on the beginning, middle and end spectrum (Chatman 1978, pp. 46 – 47)....
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TL;DR: The most blatant salon side of [Louis Moreau] Gottschalk's music comes out in 'The Dying Poet' [1863-64], a parlor piece which must have brought tears to the eyes of many a generation of American mothers and daughters as mentioned in this paper.
Abstract: Musicologists dismiss sentimental music in the same ways that literary critics dismiss sentimental fiction, calling on the same reserves of disdain and using language that encodes the same masculinist biases. "The most blatant salon side of [Louis Moreau] Gottschalk's music," writes John Ardoin, "comes out in 'The Dying Poet' [1863-64], a parlor piece which must have brought tears to the eyes of many a generation of American mothers and daughters." Indeed, the derisive linkage to women and tears seems to have become an almost compulsory descriptive gesture in discussions of Gottschalk's parlor music. (His folk-inspired and patriotic music is often trivialized as well, but on substantially different grounds.) William Mowder, for instance, insists that such works as The Dying Poet "can be seen today only as sentimental period pieces that consistently brought tears to the eyes and flutters to 19th-Century Music XVI/3 (Spring 1993). O by The Regents of the University of California.
7 citations