By Kent Puckett
Kent Puckett's Narrative concept: A serious Introduction provides an account of a strategy more and more important to literary stories, movie experiences, background, psychology and past. as well as introducing readers to a couple of the field's significant figures and their principles, Puckett situates serious and philosophical methods in the direction of narrative inside an extended highbrow background. The e-book finds certainly one of narrative theory's founding claims - that narratives must be understood by way of a proper relation among tale and discourse, among what they narrate and the way they narrate it - either as an important methodological contrast and as an issue attribute of recent inspiration. Puckett therefore exhibits that narrative thought is not just a robust descriptive process but in addition a fancy and occasionally ironic kind of critique. Narrative conception bargains readers an creation to the field's key figures, tools and ideas, and it additionally unearths that box as unexpectedly crucial to the historical past of rules.
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Extra resources for Narrative Theory: A Critical Introduction
Example text
What makes the whole structure of a tragedy meaningful? While the answers to these questions are, of course, many and complicated, what stands at the center of Aristotle’s thinking is an attention to the right and rightly proportional relation between appropriate actions and the literary forms that those actions take when they are represented in the plot of a successful tragedy. ”3 Aristotle’s word for representation is mimesis, and he sees a successful tragedy (or, rather, a successful tragic plot) as a structured, coherent representation of an event or a series of events: We have laid it down that a tragedy is an imitation of an action that is complete in itself, as a whole of some magnitude; for a whole may be of no magnitude to speak of.
Tragic conflict is, in other words, an embodied and philosophical conflict between story and discourse, between unprocessed events experienced as one follows the other and what those events look like when organized into a whole and coherent representation. Vernant helps, in other words, to reveal an analogy among three orders of experience: the social tension between the Athenian experience of the time of men and the time of the gods; the tension between free will and fate as it was thematized in Athenian tragedy; and the tension 38 Narrative Theory between events and the whole representations of events as it structured those same tragedies and, indeed, as it structures narrative as such.
14 Similarly, Marie-Laure Ryan has argued that narrativity is a measure of the degree to which a particular narrative depicts a world of “particular entities and events” and makes “that world coherent and intelligible by evoking a network of relations . . ” Although a lot happens, the scene attends more to the experience or feeling of a plane crash than to the event itself; the shot pans deliberately across the plane as wind tears it apart and then cuts back to the narrator’s detached and yet curious, maybe titillated gaze.