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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 Narrative Form Index Matrix (NFIM) as mentioned in this paper uses forms inventoried in the NFI as variables for finding, connecting, and displaying relevant narrative text within a matrix.
Abstract: Purpose: Narrative form research is introduced as a unique, qualitative approach to studying narrative material, particularly trauma narratives. This methodology incorporates new analytic tools: Narrative Form Index (NFI) and Narrative Form Index Matrix (NFIM). Research Method/Design: The NFI is a standard set of narrative terms that provides a critical inventory of forms useful in processing the structure, context, and whole elements of narratives. The NFIM uses forms inventoried in the NFI as variables for finding, connecting, and displaying relevant narrative text within a matrix. Together, these companion analytic tools allow for the direct transmission of meaningfully sifted narrative data. Results: Employing the NFI and NFIM in relation to a research transcript, the authors demonstrate how narrative material is identified for inclusion in a matrix. Once arranged in a matrix, rich narrative data is available for further analysis. Conclusions/Implications: Content and form analysis and direct transmission of narrative data embodied in this approach provide salient and accurate results in qualitative data management and inference. The analytic tools described have applications for rehabilitation research and practice and can be downloaded from the authors’ Web site.
17 citations
Cites background from "Story and Discourse: Narrative Stru..."
...One of the terms inventoried under Temporal Orientation is anticipation/reflection, which, in turn, refers to the mental processes of looking backward or forward in one’s life (Chatman, 1978; Genette, 1980; Prince, 1982, 2003)....
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TL;DR: However, relatively little research on emotion has made its way into narratology. as mentioned in this paper argues that narrative is fundamentally shaped and oriented by our emotion systems, and argues that narratives are, in short, inseparable from emotions.
Abstract: Human beings have a passion for plots. Narratives are shared in every society, in every age, and in every social context, from intimate personal interactions to impersonal social gatherings. This passion for plots is bound up with the passion of plots, the ways in which stories manifest feelings on the part of authors and characters, as well as the passion from plots, the ways stories provoke feelings in readers or listeners. Narratives are, in short, inseparable from emotions. One might therefore expect the study of narrative to be inseparable from the study of emotions. However, this has not generally been the case. Over the last two decades, there has been an enormous increase in attention to emotion as a crucial aspect of human thought and action. This attention has spanned a range of disciplines, prominently including the fi elds gathered together under the rubric of cognitive science—thus parts of psychology, neuroscience, philosophy, anthropology, and so on. Narratology has perhaps been the area of literary study most closely connected with cognitive science. However, relatively little research on emotion has made its way into narratology. Of course, everyone recognizes that emotion is important in stories, and theorists of narrative usually have some place for emotion in their work. However, narratological treatments of emotion have on the whole been relatively undeveloped, particularly in comparison with other aspects of narrative theory. Given recent advances in research on emotion, it seems clear that any theory of narrative would benefi t from a more fully elaborated treatment of emotion based on this research. Indeed, I would go further, and argue that narrative is fundamentally shaped and oriented by our emotion systems.1 Of course, other neurocognitive systems play a role in the production and reception of narrative—perceptual systems, long-term and working memory systems, language systems. But, in my view, the distinctive aspects of
17 citations
06 Jan 2005
TL;DR: In the early 1930s, it was difficult for most English readers to disentangle Dada, with its poetics of outrage and negation, from Surrealism as mentioned in this paper, with its more affirmative and often prophetic stance.
Abstract: ‘It’s got here at last!’ So Cyril Connolly greeted the appearance in 1935 of David Gascoyne’s A Short Survey of Surrealism with a degree of surprise we may still share. Why had it taken so long for Surrealism to arrive in England? Andre Breton had, after all, presented the founding manifesto back in 1924 and the first experiment in automatic writing, The Magnetic Fields , which he co-produced with Philippe Soupault, had appeared four years before that. The war, of course, had closed borders, literally and metaphorically, and having survived the conflict without suffering invasion or revolution, England in the immediate wake of 1918 would be largely untroubled by the waves of crisis and nihilism which swept most European countries and which generated the newest avant-garde tendency, Dada. While Italian Futurism had launched itself on London in a spectacularly dramatic fashion, Dada would remain an obscurely ‘foreign’ phenomenon, receiving only patchy mention in literary magazines and never generating sufficient oppositional energy to initiate a parallel English movement in the way that Marinetti had lit the charge for Vorticism. What was known of the Dada group and the Surrealist tendency it had spawned by 1920 came mostly by way of little magazines rather than from direct personal contact, and the time-lag in picking up on the new movements also meant that it was difficult for most English readers to disentangle Dada, with its poetics of outrage and negation, from Surrealism, with its more affirmative and often prophetic stance.
17 citations
16 citations
TL;DR: This article argued that the narratological story-disconnection is a form of social action and argued that narrative should be viewed as a social action, rather than as an analytical process.
Abstract: Many sociologists have called for analytical rigor in the study of narrative while maintaining that narrative should be viewed as a form of social action. We argue that the narratological story-dis...
16 citations
Cites background from "Story and Discourse: Narrative Stru..."
...Bringing narratology and social science together In narratology, the story is understood to consist of events undergone by agents – real or fictional – while discourse denotes the presentation, textual or otherwise, that organizes and communicates them (e.g. Chatman, 1978)....
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