A Structuralist-generative Model of Literary Narrative

Transcription

1 Volker Schulz A Structuralist-generative Model of Literary Narrative The Theory and Practice of Analyzing Fiction Including an Essay by Stephan-Alexander Ditze PETER LANG Europaischer Verlag der Wissenschaften

2 CONTENTS PREFACE 15 INTRODUCTION: A Critical History of Narrative Theory (Narratology) 19 PART I: THEORY 37 Chapter 1. A Structuralist-generative Model of Literary Narrative as a Frame of Reference for the Systematic Analysis of Individual Works of Fiction Introduction: "Narrative" and "Literary Narrative" General Explanation In-depth Exposition Thematic Deep Structure/Thematic Idea (Level I) Fictionalization (between Levels I and II) Content Deep Structure A (Level II) Kind of Fictitious World The Dimension of Action: Fable-Structure(s) Scope of Fable Type of Fable Macrostructure The Splitting-up of Fable ; The Dimension of Personnel: Structure(s) of Actants The Dimension of Space/Time: Spatiotemporal Structure Concretization (between Levels II and III) Content Deep Structure B (Level III) Fable(s) Constellation(s) of Agents Setting(s) Use of Non-medium-specific Means of Presentation: Elaboration (between Levels III and IV) Specificity Complexity Circumstantiality Order 88

3 10 Contents Mimetic Characterization Symbolism Content Surface Structure (Level IV) The Dimension of Action: Plot(s) The Dimension of Personnel: Constellation(s) of Characters The Dimension of Space/Time: Scene(s) Use of Medium-specific Means of Presentation: Narration/Focalization/Typographical Arrangement (between Levels IV and V) Narration Narrational Act Narrational Instance(s) Narrational Language(s) Narrational Tone Diegetic Characterization Embedding Narrational Speed Deep Structure Signals Focalization Typographical Arrangement Marking Segmentation Text/Textual Surface (Level V) 137 Chapter 2. "Deep Structure Signals" in Fiction The Concept of "Deep Structure Signals" A Tentative Typology of "Deep Structure Signals" Critical Terms Abstract Words Allegory Imagery 144 PART II: THEORY/PRACTICE 147 Chapter 3. W. O. Hendricks' Structuralist Analysis of Ambrose Bierce's "Oil of Dog" Introductory Remarks 147

4 Contents Hendricks' Theory and Model of the Generation/Analysis of a Literary Narrative Hendricks' Methodology Syntagmatic Analysis Paradigmatic Analysis An Additional Layer of Meaning of Bierce' s Story Left out of Account by Hendricks Concluding Remarks 174 PART III: PRACTICE 177 Chapter 4. James Joyce, "The Boarding House" Introduction Plot and Fable (Levels IV and III) Order (between Levels IV and III) Fable (Level III) Use of Medium-specific Means of Presentation (between Levels V and IV) Segmentation (between Levels V and IV) Narrational Language (between Levels V and IV) Narrational Speed (between Levels V and IV) Ellipsis Summary Scene and Stretch Frequency Narrational Instance, Diegetic Characterization and Focalization (between Levels V and IV) Mimetic Characterization (between Levels IV and III) Constellation of Agents (Level III) The Dimension of Space/Time Scenes (Level IV) Setting (Level III) Spatiotemporal Structure (Level II) Fable Structure (Level II) and Thematic Idea (Level I), Partly Indicated by Deep Structure Signals (between Levels VandlV) 193

5 12 Contents 4.10 Structure of Actants (Level II) and Thematic Idea (Level I), Partly Indicated by Deep-Structure Signals (between Levels VandlV) 195 Chapter 5. Angus Wilson, "More Friend Than Lodger" Introduction Thematic Idea (Level I) Structure of Actants (Level II) Constellation of Agents (Level III) Scenes (Level IV) Fable Structure (Level II) Main Fable (Level III) and Main Plot (Level IV) Subsidiary Fable (Level III) Focalization (between Levels IV and V) Narrational Tone (between Levels IV and V) Narrational Speed (between Levels IV and V) Language as a Means of Mimetic Characterization (between Levels III and IV) and Narrational Language (betweenlevels IV and V) The Parabolic Meaning of "More Friend than Lodger'' 216 Chapter 6. Graham Greene, Travels with My Aunt Introduction: The Reception and the Production of Travels with My Aunt Constellation of Agents (Level III) Settings (Level III) Fable Structure/Macrostructure and Fable (Levels II and III) Fable Structure/Type of Fable (Level II) and Deep Structure Signals (between Levels IV and V) Structure of Actants (Level II) and Deep Structure Signals (between Levels IV and V) Thematic Idea (Level I) Mobility Adventure Amorality Intensity 235

6 Contents Pleasure Love 237 Chapter 7. David Herbert Lawrence, "Odour of Chrysanthemums"..24O 7.1 Introduction The Dimension of Space/Time: Scenes (Level IV), Setting (Level III) and Spatiotemporal Structure (Level II) The Dimension of Action Fable Structure (Level II) Plot (Level IV) and Fable (Level III) The Dimension of Personnel Constellation of Characters (Level IV) Constellation of Agents (Level III) Structure of Actants (Level II) Narration, Focalization and Diegetic Characterization (between Levels IV and V) Symbolism (between Levels III and IV) Thematic Idea (Level I) 265 APPENDIX: A STUDENT ESSAY Stephan-Alexander Ditze: A Structuralist-generative Analysis of Doris Lessing's Short Story "England versus England" 267 BIBLIOGRAPHY 295 I. Literary Theory, Especially Narrative Theory (Narratology) 295 II a) Primary Literature 305 II b) Secondary Literature on Single Authors/Works 306 III Reference Books and Miscellaneous Works 310 INDEX OF AUTHORS 311 A STRUCTURALIST-GENERATIVE MODEL OF LITERARY NARRATIVE 317