The Cambridge Introduction to NarrativeCambridge University Press, 11. 2. 2002 - Počet stran: 203 An Introduction to Narrative is designed to help readers understand what narrative is, how it is constructed, how it acts upon us, how we act upon it, how it is transmitted, and how it changes when the medium or the cultural context change. Porter Abbott emphasises that narrative is found not just in the arts but everywhere in the ordinary course of peoples lives. An indispensable tool for students and teachers alike, this book will guide readers through the fundamental aspects of narrative. |
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Obsah
Narrative and life | 1 |
Narrative and time | 3 |
Narrative perception | 6 |
Defining narrative | 12 |
Story and narrative discourse | 14 |
The mediation construction of story | 17 |
Constituent and supplementary events | 20 |
Narrativity | 22 |
Overreading | 82 |
Gaps | 83 |
Cruxes | 85 |
themes and motifs | 88 |
Three ways to interpret narrative | 93 |
Intentional readings | 95 |
Symptomatic readings | 97 |
Adaptive readings | 100 |
The borders of narrative | 25 |
Paratexts | 26 |
The outer limits of narrative | 27 |
Is it narrative or is it life itself? | 31 |
The rhetoric of narrative | 36 |
Causation | 37 |
Normalization | 40 |
Masterplots | 42 |
Narrative rhetoric at work | 46 |
Closure | 51 |
Closure and endings | 52 |
Closure suspense and surprise | 53 |
Closure at the level of expectations | 54 |
Closure at the level of questions | 56 |
The absence of closure | 57 |
The peril of buying a story | 59 |
Narration | 62 |
The narrator | 63 |
Voice | 64 |
Focalization | 66 |
Distance | 67 |
Reliability | 69 |
Free indirect style | 70 |
Narration on stage and screen | 72 |
lnterpreting narrative | 76 |
The implied author | 77 |
Underreading | 79 |
Adaptation across media | 105 |
Duration and pace | 107 |
Character | 109 |
Figurative language | 111 |
Gaps | 114 |
Focalization | 115 |
Constraints of the marketplace | 118 |
Character and self in narrative | 123 |
Flat and round characters | 126 |
Can characters be real? | 127 |
Types | 129 |
Autobiography | 131 |
Life writing as performative | 134 |
Narrative contestation | 138 |
A narrative latticework | 142 |
Shadow stories | 144 |
Motivation and personality | 146 |
Masterplots and types | 148 |
Revising cultural masterplots | 150 |
Battling narratives are everywhere | 152 |
Narrative negotiation | 156 |
Narrative negotiation | 157 |
Critical reading as narrative negotiation | 162 |
Closure one more time | 168 |
The end of closure? | 171 |
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action adaptation Additional primary texts agon argue audience autobiography Barthes called chapter character Cinderella closure complex concept conflict constituent events construction contest of narratives cultural Deconstruction diegesis distinction E. M. Forster effect entities example fact father feeling fiction film focalization framing narrative free indirect style gaps genre Gérard Genette happened hatchet Heathcliff heterodiegetic human hypertext implied author important intentional reading interpretation involved issue Jakie Khadafy kill kind king Kol Nidre Laius level of questions lives Lizzie Borden look Madame Bovary masterplot meaning mind mother motifs murder narrative discourse narrative negotiation Narratology narrator's necessarily novel Oedipus overreading paratexts play prosecution readers refer representation rhetorical role-playing games scene sense sequence stage stepmother structure supplementary events symptomatic readings tell term theater things third-person narration told trial underreading University Press unreliable narrator voice woman words writing Wuthering Heights York