Showing papers on "Narratology published in 1984"
55 citations
TL;DR: In this article, the authors make a claim for the case that all presentation of reality in fiction should be seen in its subjective aspects and that the mediation brought about by the use of language has its source in the process of interaction of subjects that aspire toward the being taken for granted of certain meanings by all parties concerned.
Abstract: In this article, I will approach the problem of reality in fiction within the framework of the basic subjectivity of all discourse The notion of "subjectivity," both as the opposite of (illusory) objectivity, and as subject-dependency, but in the first place considered as activity of subjects, will be amply discussed First I will briefly present the rather commonplace view that all discourse is subjective As far as the relation between reality and discourse is concerned, there is no basic difference between history and fiction (see also Smith 1978) The fallacy of an "objective" difference is rooted in our traditional interpretation of Aristotle's notion of mimesis, seen as fiction This concept has been open to recent interpretation It is precisely on the basis of our revision of Aristotle's ideas as well as of the theoretical work done in the field of narratology that I wish to make a claim for the case that all presentation of reality in fiction should be seen in its subjective aspects The mediation brought about by the use of language has its source in the process of interaction of subjects that aspire toward the being taken for granted of certain meanings by all parties concerned This effort cannot be but rhetorical The unavoidable use of rhetoric in social behavior is a political act Criticism of this process requires a detailed analysis of discursive subjects and the way they communicate meanings The case of the Samson and Delilah tale (Judges 13-16) serves to illustrate the point
14 citations
TL;DR: The POLITICAL UNCONSCIOUS, NARRATIVE AS A SOCIALLY SYMBOLIC ACT as discussed by the authors, is a novel work by Gerard Genette, translated by Jane E. Lewin.
Abstract: ON NARRATIVE. Edited by W. J. T. Mitchell. Chicago: University of Chicago Press, 1981; pp. 270. Paper $7.95. NARRATIVE DISCOURSE. By Gerard Genette. Translated by Jane E. Lewin. Ithaca, NY: Cornell University Press, 1980; pp. 285. $22.50. THE POLITICAL UNCONSCIOUS, NARRATIVE AS A SOCIALLY SYMBOLIC ACT. By Fredric Jameson. Ithaca, NY: Cornell University Press, 1981; pp. 305. $22.50; paper $7.95. STORY AND DISCOURSE, NARRATIVE STRUCTURES IN FICTION AND FILM. By Seymour Chatham. Ithaca, NY: Cornell University Press, 1978; pp. 277. $24.95; paper $5.95. INVENTIONS: WRITING, TEXTUALITY, AND UNDERSTANDING IN LITERARY HISTORY. By Gerald R. Bruns. New Haven: Yale University Press, 1982; pp. xiv + 201. $18.95.
8 citations
TL;DR: In this paper, the similarities between film and literature have been a frequent subject of theoretical and analytical discussion, and the most interesting work in both filmic and literary textual criticism has been carried out within the framework of French structuralism and semiotics, with the result that many scholars now subscribe to the notion that it is in the field of narratology.
Abstract: Inevitably, similarities between film and literature have been a frequent subject of theoretical and analytical discussion. Some of the earliest substantial studies were written by French scholars. Book-length studies in English have, though, probably been more numerous. Many, in both languages, have with varying degrees of success dealt with the problems of the filmic adaptations of either dramatic or narrative texts. Generally speaking, until the mid-1960s, most cinema/literature studies were what would be termed, in the broadest sense, humanistic. Since then, however, some of the most interesting work in both filmic and literary textual criticism has been carried out within the framework of French structuralism and semiotics. Furthermore, the parallels between, on the one hand, film as a dramatic art and, on the other, film as a narrative art seem to have been at last identified and differentiated, with the result that many scholars now subscribe to the notion that it is in the field of narratology tha...
4 citations
2 citations
TL;DR: Zionism: the idea of a territorial concentration of the Jewish people in an autonomous entity as a solution to the Jewish Question as discussed by the authors, which is referred to as political Zionism as opposed to the nationalistic-religious trends that now dominate the so-called official Zionism.
Abstract: Zionism: the idea of a territorial concentration of the Jewish people in an autonomous entity as a solution to the Jewish Question. This definition (and the essay that follows) refers to Zionism as conceived by its first leaders and theoreticians — Leo Pinsker, Theodor Herzl, and Israel Zangwill, that is, to what is generally called “political” Zionism (as opposed to the nationalistic-religious trends that now dominate the so-called official “Zionist ideology in Israel). Detective fiction: one narrative in search of another, the first arising from the discovery (or anticipation) of a crime, the second providing the identity of the criminal, his motivations and the modalities of his act.
1 citations
Journal Article•
1 citations
Book•
01 Dec 1984
1 citations