Narratology: Key Concepts and Analyses
G.M. Adhyanggono, S.S.,M.A.
The study of how narratives (stories) make
The study of how narratives (stories) make
meaning, and what the basic mechanisms and
meaning, and what the basic mechanisms and
procedures are which are common to all acts of
procedures are which are common to all acts of
story-telling.
story-telling.
◦
Narratology
Narratology
≠
≠
the reading & interpretation of
the reading & interpretation of
individual stories, but the attempt to study the nature
individual stories, but the attempt to study the nature
of ‘story’ itself, as a concept and as a cultural practice.
of ‘story’ itself, as a concept and as a cultural practice.
Story/
Story/
fabula
fabula
/
/
histoire
histoire
◦
“The actual sequence as they happen; the story has to
“The actual sequence as they happen; the story has to
begin at the beginning, then move chronologically
begin at the beginning, then move chronologically
without nothing left out.”
without nothing left out.”
Plot/
Plot/
sjuzhet
sjuzhet
(pronounced ‘soojay’)/
(pronounced ‘soojay’)/
discourse
discourse
/
/
recit
recit
◦
“
“
A version of the story that can begin in the middle of
A version of the story that can begin in the middle of
a chain of events, and that can also provide us with
a chain of events, and that can also provide us with
flash back and flash forward.”
flash back and flash forward.”
Aristotle (Aristotelian analysis)
Aristotle (Aristotelian analysis)
Vladimir Propp (Proppian analysis)
Vladimir Propp (Proppian analysis)
Gerard Genette (Genettian analysis)
Gerard Genette (Genettian analysis)
‘Character’ and ‘action’ are essential in a story.
‘Character’ and ‘action’ are essential in a story.
They must be revealed through elements of
They must be revealed through elements of
plot.
plot.
Three key elements in plot:
Three key elements in plot:
◦
The
The
hamartia
hamartia
◦
sin, flaw that induces tragic flaw in tragedy
sin, flaw that induces tragic flaw in tragedy
◦
The
The
anagnorisis
anagnorisis
◦
‘recognition’ or ‘realization’
‘recognition’ or ‘realization’
◦
appear when the truth of the situation is recognized by
appear when the truth of the situation is recognized by
the protagonist = a moment of self-recognition
the protagonist = a moment of self-recognition
◦
The
The
peripeteia
peripeteia
◦
‘reversal’ of fortune or a ‘turn-round’
‘reversal’ of fortune or a ‘turn-round’
Proposes a 31- function that some of them may
Proposes a 31- function that some of them may
construct or form a tale.
construct or form a tale.
Not a single tale/story has all functions.
Not a single tale/story has all functions.
Yet, the order of the function is fixed because
Yet, the order of the function is fixed because
events tend to have a due order.
events tend to have a due order.
This method basically wants to show that
This method basically wants to show that
beside its ‘multiformity’ lies ‘a uniformity’.
beside its ‘multiformity’ lies ‘a uniformity’.
From 31-function, Propp classifies them into
From 31-function, Propp classifies them into
“seven spheres of action” as roles, not the
“seven spheres of action” as roles, not the
characters.
characters.
1.
The villain
The villain
2.
The donor (provider)
The donor (provider)
3.
The helper
The helper
4.
The princess (a sought-for-person) and her
The princess (a sought-for-person) and her
father
father
5.
The dispatcher
The dispatcher
6.
The hero (seeker or victim)
The hero (seeker or victim)
7.
The false hero
The false hero
Gives weight more on how the story is told.
Gives weight more on how the story is told.
Proposes 6 areas:
Proposes 6 areas:
1.
Is the basic narrative mode
Is the basic narrative mode
mimetic
mimetic
or
or
diegetic?
diegetic?
◦
Mimetic –
Mimetic –
‘dramatizing’/ ‘showing’ , with direct
‘dramatizing’/ ‘showing’ , with direct
speech and dialogue – slow telling
speech and dialogue – slow telling
◦
Diegetic –
Diegetic –
‘panoramic’/ ‘summarizing’, without trying
‘panoramic’/ ‘summarizing’, without trying
to show it as it happens before our eyes – rapid
to show it as it happens before our eyes – rapid
telling
telling
2.
How is the narrative focalized?
How is the narrative focalized?
◦
Point of view:
Point of view:
External focalization – from outside, focus on
External focalization – from outside, focus on
what the characters say and do.
what the characters say and do.
e.g. Thelma stood up and called out to Mario.
e.g. Thelma stood up and called out to Mario.
Internal focalization – from inside, focus on what
Internal focalization – from inside, focus on what
the characters feel & think
the characters feel & think
e.g. Thelma suddenly felt anxious that Mario was
e.g. Thelma suddenly felt anxious that Mario was
not
not
going to see her and would walk by oblivious
going to see her and would walk by oblivious
on
on
the other side of the road.
the other side of the road.
Zero focalization – omniscient narration
Zero focalization – omniscient narration
3.
Who is telling the story?
Who is telling the story?
◦
Covert/effaced/non-intrusive/non-
Covert/effaced/non-intrusive/non-
dramatized/authorial persona
dramatized/authorial persona
Not identified at all as a distinct character with name
Not identified at all as a distinct character with name
or personal history, remains as a voice or tone –
or personal history, remains as a voice or tone –
zerofocalized.
zerofocalized.
◦
Overt/dramatized/intrusive
Overt/dramatized/intrusive
Heterodiegetic
Heterodiegetic
– one distinct character telling others.
– one distinct character telling others.
Homodiegetic
Homodiegetic
– one distinct character telling
– one distinct character telling
himself/herself.
himself/herself.
4.
How is time handled in the story?
How is time handled in the story?
◦
Flash back =
Flash back =
analeptic
analeptic
◦
Flash forward =
Flash forward =
proleptic
proleptic
◦
Analeptic & proleptic rarely begin in the beginning,
Analeptic & proleptic rarely begin in the beginning,
usually in the middle (
usually in the middle (
in medias res
in medias res
, a theory of the
, a theory of the
classical times)
classical times)
5.
How is the story packaged?
How is the story packaged?
Frame/primary/ narrative
Frame/primary/ narrative
Embedded/secondary
Embedded/secondary
/meta/main narrative
/meta/main narrative
Double-
Double-
ended
ended
Single-
Single-
ended
ended
Intrusive
Intrusive
6.
How are speech and thought represented?
How are speech and thought represented?
◦
Direct & tagged
Direct & tagged
‘What’s your name ?’ Mario asked her. ‘It’s Thelma’, she
‘What’s your name ?’ Mario asked her. ‘It’s Thelma’, she
replied.
replied.
◦
Direct & untagged
Direct & untagged
‘What’s your name ?’
‘What’s your name ?’
‘Thelma’.
‘Thelma’.
◦
Direct & selectively tagged
Direct & selectively tagged
‘What’s your name ?’ asked Mario.
‘What’s your name ?’ asked Mario.
‘Thelma’.
‘Thelma’.
◦
Tagged indirect speech
Tagged indirect speech
He asked her what her name was, and she told him it was
He asked her what her name was, and she told him it was
Thelma.
Thelma.
◦
Free indirect speech
Free indirect speech
What was her name? It was Thelma. Thelma, was it? Not
What was her name? It was Thelma. Thelma, was it? Not
the kind of name to launch a thousand ships. More of a
the kind of name to launch a thousand ships. More of a
suburban, lace-curtain sort of name, really.
suburban, lace-curtain sort of name, really.
1.
They look at individual narratives seeking out
They look at individual narratives seeking out
the recurrent structures which are found
the recurrent structures which are found
within all narratives.
within all narratives.
2.
They focuses more on the teller and the
They focuses more on the teller and the
telling; disregard the content.
telling; disregard the content.
3.
They take categories derives mainly from the
They take categories derives mainly from the
analysis of short narratives which are
analysis of short narratives which are
expanded later on novel-length narratives.
expanded later on novel-length narratives.
4.
They foreground action and structure than
They foreground action and structure than
character and motive.
character and motive.
Exploring the study of narratives, this content delves into narratology's fundamental mechanisms and procedures in storytelling. It differentiates story, plot, and discourse while examining the roles of characters and actions in narrative development, referencing scholars like Aristotle, Propp, and Genette. The narrative structure and functions proposed by Propp are analyzed, highlighting essential story elements like the villain, donor, hero, and more, emphasizing the significance of how a story is presented.
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Presentation Transcript
The study of how narratives (stories) make meaning, and what the basic mechanisms and procedures are which are common to all acts of story-telling. Narratology individual stories, but the attempt to study the nature of story itself,as a concept and as a cultural practice. the reading & interpretation of
Story/fabula/histoire The actual sequence as they happen; the story has to begin at the beginning, then move chronologically without nothing left out. Plot/sjuzhet (pronounced soojay )/discourse/recit A version of the story that can begin in the middle of a chain of events, and that can also provide us with flash back and flash forward.
Aristotle (Aristotelian analysis) Vladimir Propp (Proppian analysis) Gerard Genette (Genettian analysis)
Character and action are essential in a story. They must be revealed through elements of plot. Three key elements in plot: The hamartia sin, flaw that induces tragic flaw in tragedy The anagnorisis recognition or realization appear when the truth of the situation is recognized by the protagonist = a moment of self-recognition The peripeteia reversal of fortune or a turn-round
Proposes a 31- function that some of them may construct or form a tale. Not a single tale/story has all functions. Yet, the order of the function is fixed because events tend to have a due order. This method basically wants to show that beside its multiformity lies a uniformity . From 31-function, Propp classifies them into seven spheres of action as roles, not the characters.
The villain The donor (provider) The helper The princess (a sought-for-person) and her father The dispatcher The hero (seeker or victim) The false hero 1. 2. 3. 4. 5. 6. 7.
Gives weight more on how the story is told. Proposes 6 areas: Is the diegetic? Mimetic dramatizing / showing , with direct speech and dialogue slow telling Diegetic panoramic / summarizing ,without trying to show it as it happens before our eyes rapid telling basic narrative mode mimetic or 1.
How is the narrative focalized? Point of view: External focalization from outside, what the characters say and do. e.g. Thelma stood up and called out to Mario. Internal focalization from inside, focus on what the characters feel & think e.g. Thelma suddenly felt anxious that Mario was not going to see her and would walk by oblivious on the other side of the road. Zero focalization omniscient narration 2. focus on
Who is telling the story? Covert/effaced/non-intrusive/non- dramatized/authorial persona Not identified at all as a distinct character with name or personal history, remains as a voice or tone zerofocalized. Overt/dramatized/intrusive Heterodiegetic one distinct character telling others. Homodiegetic one himself/herself. 3. distinct character telling
How is time handled in the story? Flash back = analeptic Flash forward = proleptic Analeptic & proleptic rarely begin in the beginning, usually in the middle (in medias res, a theory of the classical times) 4.
Single- ended How is the story packaged? 5. Double- ended Frame/primary/ narrative Embedded/secondary /meta/main narrative Intrusive
How are speech and thought represented? Direct & tagged What s your name ? Mario asked her. It s Thelma , she replied. Direct & untagged What s your name ? Thelma . Direct & selectively tagged What s your name ? asked Mario. Thelma . 6.
Tagged indirect speech He asked her what her name was, and she told him it was Thelma. Free indirect speech What was her name? It was Thelma. Thelma, was it? Not the kind of name to launch a thousand ships. More of a suburban, lace-curtain sort of name, really.
They look at individual narratives seeking out the recurrent structures which are found within all narratives. They focuses more on the teller and the telling; disregard the content. They take categories derives mainly from the analysis of short narratives which are expanded later on novel-length narratives. They foreground action and structure than character and motive. 1. 2. 3. 4.
