By James Phelan, Peter J. Rabinowitz
The 35 unique essays in A significant other to Narrative Theory represent the simplest to be had creation to this very important and contested box of humanistic enquiry.
- Comprises 35 unique essays written via prime figures within the field
- Includes contributions from pioneers within the box equivalent to Wayne C. sales space, Seymour Chatman, J. Hillis Miller and Gerald Prince
- Represents all of the significant severe methods to narrative and investigates and debates the relatives among them
- Considers narratives in several disciplines, corresponding to legislation and medicine
- Features analyses of a number of media, together with movie, track, and painting
- Designed to be of curiosity to experts, but available to readers with little earlier wisdom of the field
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Additional resources for A Companion to Narrative Theory (Blackwell Companions to Literature and Culture)
If one navigational mistake is to steer too close to either Scylla or Charybdis, an equally grave mistake is to sail on oblivious to both. (2) There is no one best way to navigate between tradition and innovation, and the field is flourishing because its scholars have developed multiple paths even as they continue to invent new ones. (3) The ongoing work of our contributors will play a substantial role in the further flourishing of the field. Prologue 1 Histories of Narrative Theory (I): A Genealogy of Early Developments David Herman [A fact becomes] historical posthumously, as it were, through events that may be separated from it by thousands of years.
These appeals, in turn, place a particular ethical burden on the audience since recognizing the writer’s experience also entails doing something with that recognition. Finally, in a discussion of materiality, Smith and Watson note that contemporary mixed media autobiography raises questions about the links among the body, the medium of representation, and the autobiographical subject. Like so many essays in the collection, this one ends in a kind of selfconscious spin: all four trouble spots, Smith and Watson contend, simultaneously receive illumination from and offer challenges to contemporary narrative theory.
As Dolezˇel puts it, ‘‘Anatomy and morphology share the assumption that an organism is a set of parts. . [But whereas] anatomy is satisfied with separating and identifying the parts, morphology informs us that the diverse parts make up a higher-order, structured whole. Morphology is a theory of the formation of complex structures from individual parts’’ (p. 56). In the domain of narrative poetics, the morphological method was pioneered in Germany in the early years of the twentieth century (Dolezˇel 1990: 126–41; see also Dolezˇel 1989).