Narrative

A narrative is a report of connected events, real or imaginary, presented in a sequence of written or spoken words, or still or moving images, or both. The word derives from the Latin verb narrare, "to tell", which is derived from the adjective gnarus, "knowing" or "skilled".[1][2]

Narrative can be organized in a number of thematic or formal categories: non-fiction (such as definitively including creative non-fiction, biography, journalism, transcript poetry, and historiography); fictionalization of historical events (such as anecdote, myth, legend, and historical fiction); and fiction proper (such as literature in prose and sometimes poetry, such as short stories, novels, and narrative poems and songs, and imaginary narratives as portrayed in other textual forms, games, or live or recorded performances).

Narrative is found in all forms of human creativity, art, and entertainment, including speech, literature, theatre, music and song, comics, journalism, film, television and video, video games, radio, gameplay, unstructured recreation, and performance in general, as well as some painting, sculpture, drawing, photography, and other visual arts, as long as a sequence of events is presented. Several art movements, such as modern art, refuse the narrative in favor of the abstract and conceptual.

Oral storytelling is the earliest method for sharing narratives.[3] During most people's childhoods, narratives are used to guide them on proper behavior, cultural history, formation of a communal identity, and values, as especially studied in anthropology today among traditional indigenous peoples.[4]

Narratives may also be nested within other narratives, such as narratives told by an unreliable narrator (a character) typically found in noir fiction genre. An important part of narration is the narrative mode, the set of methods used to communicate the narrative through a process narration (see also "Narrative Aesthetics" below).

Along with exposition, argumentation, and description, narration, broadly defined, is one of four rhetorical modes of discourse. More narrowly defined, it is the fiction-writing mode in which the narrator communicates directly to the reader.

Overview

A narrative is a telling of some true or fictitious event or connected sequence of events, recounted by a narrator to a narratee (although there may be more than one of each). Narratives are to be distinguished from descriptions of qualities, states, or situations, and also from dramatic enactments of events (although a dramatic work may also include narrative speeches). A narrative consists of a set of events (the story) recounted in a process of narration (or discourse), in which the events are selected and arranged in a particular order (the plot). The category of narratives includes both the shortest accounts of events (for example, the cat sat on the mat, or a brief news item) and the longest historical or biographical works, diaries, travelogues, and so forth, as well as novels, ballads, epics, short stories, and other fictional forms. In the study of fiction, it is usual to divide novels and shorter stories into first-person narratives and third-person narratives. As an adjective, "narrative" means "characterized by or relating to storytelling": thus narrative technique is the method of telling stories, and narrative poetry is the class of poems (including ballads, epics, and verse romances) that tell stories, as distinct from dramatic and lyric poetry. Some theorists of narratology have attempted to isolate the quality or set of properties that distinguishes narrative from non-narrative writings: this is called narrativity.[5]

Human nature

Owen Flanagan of Duke University, a leading consciousness researcher, writes, "Evidence strongly suggests that humans in all cultures come to cast their own identity in some sort of narrative form. We are inveterate storytellers."[6] Stories are an important aspect of culture. Many works of art and most works of literature tell stories; indeed, most of the humanities involve stories.[7] Stories are of ancient origin, existing in ancient Egyptian, ancient Greek, Chinese and Indian cultures and their myths. Stories are also a ubiquitous component of human communication, used as parables and examples to illustrate points. Storytelling was probably one of the earliest forms of entertainment. As noted by Owen Flanagan, narrative may also refer to psychological processes in self-identity, memory and meaning-making.

Semiotics begins with the individual building blocks of meaning called signs; and semantics, the way in which signs are combined into codes to transmit messages. This is part of a general communication system using both verbal and non-verbal elements, and creating a discourse with different modalities and forms.

In On Realism in Art Roman Jakobson argues that literature exists as a separate entity. He and many other semioticians prefer the view that all texts, whether spoken or written, are the same, except that some authors encode their texts with distinctive literary qualities that distinguish them from other forms of discourse. Nevertheless, there is a clear trend to address literary narrative forms as separable from other forms. This is first seen in Russian Formalism through Victor Shklovsky's analysis of the relationship between composition and style, and in the work of Vladimir Propp, who analysed the plots used in traditional folk-tales and identified 31 distinct functional components.[8] This trend (or these trends) continued in the work of the Prague School and of French scholars such as Claude Lévi-Strauss and Roland Barthes. It leads to a structural analysis of narrative and an increasingly influential body of modern work that raises important theoretical questions:

  • What is text?
  • What is its role (culture)?
  • How is it manifested as art, cinema, theater, or literature?
  • Why is narrative divided into different genres, such as poetry, short stories, and novels?

Literary theory

In literary theoretic approach, narrative is being narrowly defined as fiction-writing mode in which the narrator is communicating directly to the reader. Until the late 19th century, literary criticism as an academic exercise dealt solely with poetry (including epic poems like the Iliad and Paradise Lost, and poetic drama like Shakespeare). Most poems did not have a narrator distinct from the author.

But novels, lending a number of voices to several characters in addition to narrator's, created a possibility of narrator's views differing significantly from the author's views. With the rise of the novel in the 18th century, the concept of the narrator (as opposed to "author") made the question of narrator a prominent one for literary theory. It has been proposed that perspective and interpretive knowledge are the essential characteristics, while focalization and structure are lateral characteristics of the narrator.

The role of literary theory in narrative has been disputed; with some interpretations like Todorov's narrative model that views all narratives in a cyclical manner, and that each narrative is characterized by a three part structure that allows the narrative to progress. The beginning stage being an establishment of equilibrium--a state of non conflict, followed by a disruption to this state, caused by an external event, and lastly a restoration or a return to equilibrium--a conclusion that brings the narrative back to a similar space before the events of the narrative unfolded.[9]

Other critiques of literary theory in narrative challenge the very role of literariness in narrative, as well as the role of narrative in literature. Meaning, narratives and their associated aesthetics, emotions, and values have the ability to operate without the presence of literature and vice versa. According to Didier Costa, the structural model used by Todorov and others is unfairly biased towards a Western interpretation of narrative, and that a more comprehensive and transformative model must be created in order to properly analyze narrative discourse in literature.[10] Framing also plays a pivotal role in narrative structure; an analysis of the historical and cultural contexts present during the development of a narrative is needed in order to more accurately represent the role of narratology in societies that relied heavily on oral narratives.

Types of narrators and their modes

A writer's choice in the narrator is crucial for the way a work of fiction is perceived by the reader. There is a distinction between first-person and third-person narrative, which Gérard Genette refers to as intradiegetic and extradiegetic narrative, respectively. Intradiagetic narrators are of two types: a homodiegetic narrator participates as a character in the story. Such a narrator cannot know more about other characters than what their actions reveal. A heterodiegetic narrator, in contrast, describes the experiences of the characters that appear in the story in which he or she does not participate.

Most narrators present their story from one of the following perspectives (called narrative modes): first-person, or third-person limited or omniscient. Generally, a first-person narrator brings greater focus on the feelings, opinions, and perceptions of a particular character in a story, and on how the character views the world and the views of other characters. If the writer's intention is to get inside the world of a character, then it is a good choice, although a third-person limited narrator is an alternative that does not require the writer to reveal all that a first-person character would know. By contrast, a third-person omniscient narrator gives a panoramic view of the world of the story, looking into many characters and into the broader background of a story. A third-person omniscient narrator can be an animal or an object, or it can be a more abstract instance that does not refer to itself. For stories in which the context and the views of many characters are important, a third-person narrator is a better choice. However, a third-person narrator does not need to be an omnipresent guide, but instead may merely be the protagonist referring to himself in the third person (also known as third person limited narrator).

Multiple narrators

A writer may choose to let several narrators tell the story from different points of view. Then it is up to the reader to decide which narrator seems most reliable for each part of the story. It may refer to the style of the writer in which he/she expresses the paragraph written. See for instance the works of Louise Erdrich. William Faulkner's As I Lay Dying is a prime example of the use of multiple narrators. Faulkner employs stream of consciousness to narrate the story from various perspectives.

In Indigenous American communities, narratives and storytelling are often told by a number of elders in the community. In this way, the stories are never static because they are shaped by the relationship between narrator and audience. Thus, each individual story may have countless variations. Narrators often incorporate minor changes in the story in order to tailor the story to different audiences.[11]

The use of multiple narratives in a story is not simply a stylistic choice, but rather an interpretive one that offers insight into the development of a larger social identity and the impact that has on the overarching narrative, as explained by Lee Haring.[12] Haring analyzes the use of framing in oral narratives, and how the usage of multiple perspectives provides the audience with a greater historical and cultural background of the narrative. She also argues that narratives (particularly myths and folktales) that implement multiple narrators deserves to be categorized as its own narrative genre, rather than simply a narrative device that is used solely to explain phenomena from different points of view.

Haring provides an example from the Arabic folktales of A Thousand and One Nights to illustrate how framing was used to loosely connect each story to the next, where each story was enclosed within the larger narrative. Additionally, Haring draws comparisons between Thousand and One Nights and the oral storytelling observed in parts of rural Ireland, islands of the Southwest Indian Ocean, and African cultures such as Madagascar.

"I'll tell you what I'll do," said the smith. "I'll fix your sword for you tomorrow, if you tell me a story while I'm doing it." The speaker was an Irish storyteller in 1935, framing one story in another (O'Sullivan 75, 264). The moment recalls the Thousand and One Nights , where the story of "The Envier and the Envied" is enclosed in the larger story told by the Second Kalandar (Burton 1 : 113-39), and many stories are enclosed in others."[12]

Aesthetics approach

Narrative is a highly aesthetic art. Thoughtfully composed stories have a number of aesthetic elements. Such elements include the idea of narrative structure, with identifiable beginnings, middles and ends, or exposition-development-climax-denouement, with coherent plot lines; a strong focus on temporality including retention of the past, attention to present action and protention/future anticipation; a substantial focus on character and characterization, "arguably the most important single component of the novel" (David Lodge The Art of Fiction 67); different voices interacting, "the sound of the human voice, or many voices, speaking in a variety of accents, rhythms and registers" (Lodge The Art of Fiction 97; see also the theory of Mikhail Bakhtin for expansion of this idea); a narrator or narrator-like voice, which "addresses" and "interacts with" reading audiences (see Reader Response theory); communicates with a Wayne Booth-esque rhetorical thrust, a dialectic process of interpretation, which is at times beneath the surface, forming a plotted narrative, and at other times much more visible, "arguing" for and against various positions; relies substantially on the use of literary tropes (see Hayden White, Metahistory for expansion of this idea); is often intertextual with other literatures; and commonly demonstrates an effort toward bildungsroman, a description of identity development with an effort to evince becoming in character and community.

Psychological approach

Within philosophy of mind, the social sciences and various clinical fields including medicine, narrative can refer to aspects of human psychology.[13] A personal narrative process is involved in a person's sense of personal or cultural identity, and in the creation and construction of memories; it is thought by some to be the fundamental nature of the self.[14][15] The breakdown of a coherent or positive narrative has been implicated in the development of psychosis and mental disorder, and its repair said to play an important role in journeys of recovery.[16] Narrative Therapy is a school of (family) psychotherapy.

Illness narratives are a way for a person affected by an illness to make sense of his or her experiences.[17] They typically follow one of several set patterns: restitution, chaos, or quest narratives. In the restitution narrative, the person sees the illness as a temporary detour. The primary goal is to return permanently to normal life and normal health. These may also be called cure narratives. In the chaos narrative, the person sees the illness as a permanent state that will inexorably get worse, with no redeeming virtues. This is typical of diseases like Alzheimer's disease: the patient gets worse and worse, and there is no hope of returning to normal life. The third major type, the quest narrative, positions the illness experience as an opportunity to transform oneself into a better person through overcoming adversity and re-learning what is most important in life; the physical outcome of the illness is less important than the spiritual and psychological transformation. This is typical of the triumphant view of cancer survivorship in the breast cancer culture.[17]

Personality traits, more specifically the Big Five personality traits, appear to be associated with the type of language or patterns of word use found in an individual's self-narrative.[18] In other words, language use in self-narratives accurately reflects human personality. The linguistic correlates of each Big Five trait are as follows:

  • Extraversion - positively correlated with words referring to humans, social processes and family;
  • Agreeableness - positively correlated with family, inclusiveness and certainty; negatively correlated with anger and body (that is, few negative comments about health/body);
  • Conscientiousness - positively correlated with achievement and work; negatively related to body, death, anger and exclusiveness;
  • Neuroticism - positively correlated with sadness, negative emotion, body, anger, home and anxiety; negatively correlated with work;
  • Openness - positively correlated with perceptual processes, hearing and exclusiveness

Social sciences approaches

Human beings often claim to understand events when they manage to formulate a coherent story or narrative explaining how they believe the event was generated. Narratives thus lie at foundations of our cognitive procedures and also provide an explanatory framework for the social sciences, particularly when it is difficult to assemble enough cases to permit statistical analysis. Narrative is often used in case study research in the social sciences. Here it has been found that the dense, contextual, and interpenetrating nature of social forces uncovered by detailed narratives is often more interesting and useful for both social theory and social policy than other forms of social inquiry.

Sociologists Jaber F. Gubrium and James A. Holstein have contributed to the formation of a constructionist approach to narrative in sociology. From their book The Self We Live By: Narrative Identity in a Postmodern World (2000), to more recent texts such as Analyzing Narrative Reality (2009)and Varieties of Narrative Analysis (2012), they have developed an analytic framework for researching stories and storytelling that is centered on the interplay of institutional discourses (big stories) on the one hand, and everyday accounts (little stories) on the other. The goal is the sociological understanding of formal and lived texts of experience, featuring the production, practices, and communication of accounts.

Inquiry approach

In order to avoid "hardened stories," or "narratives that become context-free, portable and ready to be used anywhere and anytime for illustrative purposes" and are being used as conceptual metaphors as defined by linguist George Lakoff, an approach called narrative inquiry was proposed, resting on the epistemological assumption that human beings make sense of random or complex multicausal experience by the imposition of story structures."[19][20] Human propensity to simplify data through a predilection for narratives over complex data sets typically leads to narrative fallacy. It is easier for the human mind to remember and make decisions on the basis of stories with meaning, than to remember strings of data. This is one reason why narratives are so powerful and why many of the classics in the humanities and social sciences are written in the narrative format. But humans read meaning into data and compose stories, even where this is unwarranted. In narrative inquiry, the way to avoid the narrative fallacy is no different from the way to avoid other error in scholarly research, that is, by applying the usual methodical checks for validity and reliability in how data are collected, analyzed, and presented. Several criteria for assessing the validity of narrative research was proposed, including the objective aspect, the emotional aspect, the social/moral aspect, and the clarity of the story.

Mathematical sociology approach

In mathematical sociology, the theory of comparative narratives was devised in order to describe and compare the structures (expressed as "and" in a directed graph where multiple causal links incident into a node are conjoined) of action-driven sequential events.[21][22][23]

Narratives so conceived comprise the following ingredients:

  • A finite set of state descriptions of the world S, the components of which are weakly ordered in time;
  • A finite set of actors/agents (individual or collective), P;
  • A finite set of actions A;
  • A mapping of P onto A;

The structure (directed graph) is generated by letting the nodes stand for the states and the directed edges represent how the states are changed by specified actions. The action skeleton can then be abstracted, comprising a further digraph where the actions are depicted as nodes and edges take the form "action a co-determined (in context of other actions) action b".

Narratives can be both abstracted and generalised by imposing an algebra upon their structures and thence defining homomorphism between the algebras. The insertion of action-driven causal links in a narrative can be achieved using the method of Bayesian narratives.

Bayesian narratives

Developed by Peter Abell, the theory of Bayesian Narratives conceives a narrative as a directed graph comprising multiple causal links (social interactions) of the general form: "action a causes action b in a specified context". In the absence of sufficient comparative cases to enable statistical treatment of the causal links, items of evidence in support and against a particular causal link are assembled and used to compute the Bayesian likelihood ratio of the link. Subjective causal statements of the form "I/she did b because of a" and subjective counterfactuals "if it had not been for a I/she would not have done b" are notable items of evidence.[23][24][25]

In music

Linearity is one of several narrative qualities that can be found in a musical composition.[26] As noted by American musicologist, Edward Cone, narrative terms are also present in the analytical language about music.[27] The different components of a fugue — subject, answer, exposition, discussion and summary — can be cited as an example.[28] However, there are several views on the concept of narrative in music and the role it plays. One theory is that of Theodore Adorno, who has suggested that "music recites itself, is its own context, narrates without narrative".[28] Another, is that of Carolyn Abbate, who has suggested that "certain gestures experienced in music constitute a narrating voice".[27] Still others have argued that narrative is a semiotic enterprise that can enrich musical analysis.[28] The French musicologist Jean-Jacques Nattiez contends that "the narrative, strictly speaking, is not in the music, but in the plot imagined and constructed by the listeners".[29] He argues that discussing music in terms of narrativity is simply metaphorical and that the "imagined plot" may be influenced by the work's title or other programmatic information provided by the composer.[29] However, Abbate has revealed numerous examples of musical devices that function as narrative voices, by limiting music's ability to narrate to rare "moments that can be identified by their bizarre and disruptive effect".[29] Various theorists share this view of narrative appearing in disruptive rather than normative moments in music. The final word is yet to be said, regarding narratives in music, as there is still much to be determined.

In film

Unlike most forms of narratives that are inherently language based (whether that be narratives presented in literature or orally), film narratives face additional challenges in creating a cohesive narrative. Whereas the general assumption in literary theory is that a narrator must be present in order to develop a narrative, as Schmid proposes;[30] the act of an author writing his or her words in text is what communicates to the audience (in this case readers) the narrative of the text, and the author represents an act of narrative communication between the textual narrator and the narratee. This is in line with Fludernik's perspective on what's called cognitive narratology--which states that a literary text has the ability to manifest itself into an imagined, representational illusion that the reader will create for themselves, and can vary greatly from reader to reader.[31] In other words, the scenarios of a literary text (referring to settings, frames, schemes, etc.) are going to be represented differently for each individual reader based on a multiplicity of factors, including the reader's own personal life experiences that allow them to comprehend the literary text in a distinct manner from anyone else.

Film narrative does not have the luxury of having a textual narrator that guides its audience towards a formative narrative; nor does it have the ability to allow its audience to visually manifest the contents of its narrative in a unique fashion like literature does. Instead, film narratives utilize visual and auditory devices in substitution for a narrative subject; these devices include cinematography, editing, sound design (both diegetic and non-diegetic sound), as well as the arrangement and decisions on how and where the subjects are located onscreen--known as mise-en-scène. These cinematic devices, among others, contribute to the unique blend of visual and auditory storytelling that culminates to what Jose Landa refers to as a "visual narrative instance".[32] And unlike narratives found in other performance arts such as plays and musicals, film narratives are not bound to a specific place and time, and are not limited by scene transitions in plays, which are restricted by set design and allotted time.

In mythology

The nature or existence of a formative narrative in many of the world's myths, folktales, and legends has been a topic of debate for many modern scholars; but the most common consensus among academics is that throughout most cultures, traditional mythologies and folklore tales are constructed and retold with a specific narrative purpose that serves to offer a society an understandable explanation of natural phenomenon--oftentimes absent of a verifiable author. These explanatory tales manifest themselves in various forms and serve different societal functions, including; life lessons individuals to learn from (for example, the Ancient Greek tale of Icarus refusing to listen to his elders and flying too close to the sun), explain forces of nature or other natural phenomenon (for example, the flood myth that spans cultures all over the world),[33] and lastly to provide an understanding of our own human nature, as exemplified by the myth of Cupid and Psyche.[34]

Considering how mythologies have historically been transmitted and passed down through oral retellings, there is no qualitative or reliable method to precisely trace exactly where and when a tale originated; and since myths are rooted in a remote past, and are viewed as a factual account of happenings within the culture it originated from, the worldview present in many oral mythologies is from a cosmological perspective--one that is told from a voice that has no physical embodiment, and is passed down and modified from generation to generation.[35] This cosmological worldview in myth is what provides all mythological narratives credence, and since they are easily communicated and modified through oral tradition amongst various cultures, they help solidify the cultural identity of a civilization and contribute to the notion of a collective human consciousness that continues to help shape our own understanding of the world.[36]

Myth is often used in an overarching sense to describe a multitude of folklore genres, but there is a significance in distinguishing the various forms of folklore in order to properly determine what narratives constitute as mythological, as esteemed anthropologist Sir James Frazer suggests. Frazer contends that there are three primary categories of mythology (now more broadly considered categories of folklore): Myths, legends, and folktales, and that by definition, each genre pulls its narrative from a different ontological source, and therefore have different implications within a civilization. Frazer states:

"If these definitions be accepted, we may say that myth has its source in reason, legend in memory, and folk-tale in imagination; and that the three riper products of the human mind which correspond to these its crude creations are science, history, and romance."[37]

Janet Bacon expanded upon Frazer's categorization in her 1921 publication--The Voyage of The Argonauts.[38]

  1. Myth -- According to Janet Bacon's 1921 publication, she states that, "Myth has an explanatory intention. It explains some natural phenomenon whose causes are not obvious, or some ritual practice whose origin has been forgotten." Bacon views myths as narratives that serve a practical societal function of providing a satisfactory explanation for many of humanity's greatest questions. Questions that address topics such as astronomical events, historical circumstances, environmental phenomena, and a range of human experiences including love, anger, greed, and isolation.
  2. Legend -- Bacon aptly describes as such, "Legend, on the other hand, is true tradition founded on the fortunes of real people or on adventures at real places. Agamemnon, Lycurgus, Coriolanus, King Arthur, Saladin, are real people whose fame and the legends which spread it have become world-wide." Legends are mythical figures whose accomplishments and accolades live beyond their own mortality and transcend to the realm of myth by way of verbal communication through the ages. Like myth, they are rooted in the past, but unlike the sacred ephemeral space in which myths occur, legends are often individuals of human flesh that lived here on earth long ago, and are believed as fact. In American folklore, the tale of Davy Crocket or debatably Paul Bunyan can be considered legends--as they were real people who lived in our world, but through the years of regional folktales--have assumed a mythological quality.
  3. Folktale -- Bacon classifies folktale as such, "Folk-tale, however, calls for no belief, being wholly the product of the imagination. In far distant ages some inventive story-teller was pleased to pass an idle hour "with stories told of many-a-feat." What Bacon's definition assumes is that folktales do not possess the same underlying factualness that myths and legends tend to have. Folktales still hold a considerable cultural value, they are simply not regarded as true within a civilization. Bacon says, like myths, folktales are imagined and created by someone at some point, but differ in that folktales' primary purpose is to entertain; and that like legends, folktales may possess some element of truth in their original conception, but lack any form of credibility found in legends.

Structure

In the absence of a known author or original narrator, myth narratives are oftentimes referred to as prose narratives. Prose narratives tend to be relatively linear regarding the time period they occur in, and are traditionally marked by its natural flow of speech as opposed to the rhythmic structure found in various forms of literature such as poetry and Haikus. The structure of prose narratives allows it to be easily understood by many--as the narrative generally starts at the beginning of the story, and ends when the protagonist has resolved the conflict. These kinds of narratives are generally accepted as true within society, and are told from a place of great reverence and sacredness. Myths are believed to occur in a remote past--one that is before the creation or establishment of the civilization they derive from, and are intended to provide an account for things such as our origins, natural phenomenon, as well as our own human nature.[39] Thematically, myths seek to provide information about ourselves, and many are viewed as among some of the oldest forms of prose narratives, which grants traditional myths their fascinating and life defining characteristics that continue to be communicated today.

Another theory regarding the purpose and function of mythological narratives derives from 20th Century philologist Georges Dumézil and his formative theory of the "trifunctionalism" found in Indo-European mythologies.[40] Dumèzil refers only to the myths found in Indo-European societies, but the primary assertion made by his theory is that Indo European life was structured around the notion of three distinct and necessary societal functions, and as a result, the various gods and goddesses in Indo European mythology assumed these functions as well. The three functions were organized by cultural significance--with the first function being the most grand and sacred. For Dumèzil, these functions were so vital, they manifested themselves in every aspect of life and were at the center of everyday life.[40]

These "functions", as Dumèzil puts it, were an array of esoteric knowledge and wisdom that was reflected by the mythology. The first function being sovereignty--and was divided into two additional categories: magical and juridicial. As each function in Dumèzil's theory corresponded to a designated social class in the human realm; the first function was the highest, and was reserved for the status of kings and other royalty. In an interview with Alain Benoist, Dumèzil described magical sovereignty as such,

"[Magical Sovereignty] consists of the mysterious administration, the 'magic' of the universe, the general ordering of the cosmos. This is a 'disquieting' aspect, terrifying from certain perspectives. The other aspect is more reassuring, more oriented to the human world. It is the 'juridical' part of the sovereign function."[41]

This implies that gods of the first function are responsible for the overall structure and order of the universe, and those gods who possess juridicial sovereignty are more closely connected to the realm of humans and are responsible for the concept of justice and order. Dumèzil uses the pantheon of Norse gods as examples of these functions in his 1981 essay--he finds that the Norse gods Odin and Tyr reflect the different brands of sovereignty. Odin is the author of the cosmos, and possessor of infinite esoteric knowledge--going so far as to sacrifice his eye for the accumulation of more knowledge. While Tyr--seen as the "just god"--is more concerned with upholding justice, as illustrated by the epic myth of Tyr losing his hand in exchange for the monster Fenrir to cease his terrorization of the gods. What this tells us is that through these myths, concepts of universal wisdom and justice were able to be communicated to the Nordic people in the form of a mythological narrative.[42]

The second function as described by Dumèzil is that of the proverbial hero, or champion. These myths functioned to convey the themes of heroism, strength, and bravery and were most often represented in both the human world and the mythological world by valiant warriors. While the gods of the second function were still revered in society, they did not possess the same infinite knowledge found in the first category. A Norse god that would fall under the second function would be Thor--god of thunder. Thor possessed great strength, and was often first into battle, as ordered by his father Odin. This second function reflects Indo-European cultures' high regard for the warrior class, and explains the belief in an afterlife that rewards a valiant death on the battlefield; for the Norse mythology, this is represented by Valhalla.

Lastly, Dumèzil's third function is composed of gods that reflect the nature and values of the most common people in Indo-European life. These gods often presided over the realms of healing, prosperity, fertility, wealth, luxury, and youth--any kind of function that was easily related to by the common peasant farmer in a society. Just as a farmer would live and sustain themselves off their land, the gods of the third function were responsible for the prosperity of their crops, and were also in charge of other forms of everyday life that would never be observed by the status of kings and warriors, such as mischievousness and promiscuity. An example found in Norse mythology could be seen through the god Freyr -- a god who was closely connected to acts of debauchery and overindulging.

Dumèzil viewed his theory of trifunctionalism as distinct from other mythological theories because of the way the narratives of Indo-European mythology permeated into every aspect of life within these societies, to the point that the societal view of death shifted away from our primal perception that tells us to fear death, and instead death became seen as the penultimate act of heroism--by solidifying your position in the hall of the gods when you pass from this realm to the next. More interestingly, however, Dumèzil proposed that his theory stood at the foundation of the modern understanding of the Christian Trinity, citing that the three key deities of Odin, Thor, and Freyr were often depicted together in a trio--seen by many as an overarching representation of what would be known today as "divinity".[40]

In cultural storytelling

A narrative can take on the shape of a story, which gives listeners an entertaining and collaborative avenue for acquiring knowledge. Many cultures use storytelling as a way to record histories, myths, and values. These stories can be seen as living entities of narrative among cultural communities, as they carry the shared experience and history of the culture within them. Stories are often used within indigenous cultures in order to share knowledge to the younger generation.[43] Due to indigenous narratives leaving room for open-ended interpretation, native stories often engage children in the storytelling process so that they can make their own meaning and explanations within the story. This promotes holistic thinking among native children, which works towards merging an individual and world identity. Such an identity upholds native epistemology and gives children a sense of belonging as their cultural identity develops through the sharing and passing on of stories.[44]

For example, a number of indigenous stories are used to illustrate a value or lesson. In the Western Apache tribe, stories can be used to warn of the misfortune that befalls people when they do not follow acceptable behavior. One story speaks to the offense of a mother's meddling in her married son's life. In the story, the Western Apache tribe is under attack from a neighboring tribe, the Pimas. The Apache mother hears a scream. Thinking it is her son's wife screaming, she tries to intervene by yelling at him. This alerts the Pima tribe to her location, and she is promptly killed due to intervening in her son's life.[45]

Indigenous American cultures use storytelling to teach children the values and lessons of life. Although storytelling provides entertainment, its primary purpose is to educate.[46] Alaskan Indigenous Natives state that narratives teach children where they fit in, what their society expects of them, how to create a peaceful living environment, and to be responsible, worthy members of their communities.[46] In the Mexican culture, many adult figures tell their children stories in order to teach children values such as individuality, obedience, honesty, trust, and compassion.[47] For example, one of the versions of La Llorona is used to teach children to make safe decisions at night and to maintain the morals of the community.[47]

Narratives are considered by the Canadian Métis community, to help children understand that the world around them is interconnected to their lives and communities.[48] For example, the Métis community share the "Humorous Horse Story" to children, which portrays that horses stumble throughout life just like humans do.[48] Navajo stories also use dead animals as metaphors by showing that all things have purpose.[49] Lastly, elders from Alaskan Native communities claim that the use of animals as metaphors allow children to form their own perspectives while at the same time self-reflecting on their own lives.[48]

American Indian elders also state that storytelling invites the listeners, especially children, to draw their own conclusions and perspectives while self-reflecting upon their lives.[46] Furthermore, they insist that narratives help children grasp and obtain a wide range of perspectives that help them interpret their lives in the context of the story. American Indian community members emphasize to children that the method of obtaining knowledge can be found in stories passed down through each generation. Moreover, community members also let the children interpret and build a different perspective of each story.[46]

Historiography

In historiography, according to Lawrence Stone, narrative has traditionally been the main rhetorical device used by historians. In 1979, at a time when the new Social History was demanding a social-science model of analysis, Stone detected a move back toward the narrative. Stone defined narrative as organized chronologically; focused on a single coherent story; descriptive rather than analytical; concerned with people not abstract circumstances; and dealing with the particular and specific rather than the collective and statistical. He reported that, "More and more of the 'new historians' are now trying to discover what was going on inside people's heads in the past, and what it was like to live in the past, questions which inevitably lead back to the use of narrative."[50]

Some philosophers identify narratives with a type of explanation. Mark Bevir argues, for example, that narratives explain actions by appealing to the beliefs and desires of actors and by locating webs of beliefs in the context of historical traditions. Narrative is an alternative form of explanation to that associated with natural science.

Historians committed to a social science approach, however, have criticized the narrowness of narrative and its preference for anecdote over analysis, and clever examples rather than statistical regularities.[51]

Storytelling rights

Storytelling rights may be broadly defined as the ethics of sharing narratives (including—but not limited to—firsthand, secondhand and imagined stories). In Storytelling Rights: The uses of oral and written texts by urban adolescents, author Amy Shuman offers the following definition of storytelling rights: “the important and precarious relationship between narrative and event and, specifically, between the participants in an event and the reporters who claim the right to talk about what happened."[52]

The ethics of retelling other people’s stories may be explored through a number of questions: whose story is being told and how, what is the story’s purpose or aim, what does the story promise (for instance: empathy, redemption, authenticity, clarification)--and at whose benefit? Storytelling rights also implicates questions of consent, empathy, and accurate representation. While storytelling—and retelling—can function as a powerful tool for agency and advocacy, it can also lead to misunderstanding and exploitation.

Storytelling rights is notably important in the genre of personal experience narrative. Academic disciplines such as performance, folklore, literature, anthropology, Cultural Studies and other social sciences may involve the study of storytelling rights, often hinging on ethics.

Other specific applications

  • Narrative environment is a contested term [53] that has been used for techniques of architectural or exhibition design in which 'stories are told in space' and also for the virtual environments in which computer games are played and which are invented by the computer game authors.
  • Narrative film usually uses images and sounds on film (or, more recently, on analogue or digital video media) to convey a story. Narrative film is usually thought of in terms of fiction but it may also assemble stories from filmed reality, as in some documentary film, but narrative film may also use animation.
  • Narrative history is a genre of factual historical writing that uses chronology as its framework (as opposed to a thematic treatment of a historical subject).
  • Narrative poetry is poetry that tells a story.
  • Metanarrative, sometimes also known as master- or grand narrative, is a higher-level cultural narrative schema which orders and explains knowledge and experience you've had in life.
  • Narrative photography is photography used to tell stories or in conjunction with stories.

See also

References

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  2. ^ Webster (1969)
  3. ^ International Journal of Education and the Arts | The Power of Storytelling: How Oral Narrative Influences Children's Relationships in Classrooms
  4. ^ Hodge, et al. 2002. Utilizing Traditional Storytelling to Promote Wellness in American Indian events within any given narrative
  5. ^ Baldick (2004)
  6. ^ Owen Flanagan Consciousness Reconsidered 198
  7. ^ Humanities tell our stories | https://asunow.asu.edu/content/humanities-tell-our-stories-what-it-means-be-human
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  37. ^ Halliday, W. R. (August 1922). "Apollodorus: The Library. With an English translation by Sir James George Frazer, F.B.A., F.R.S. (The Loeb Classical Library.) Two vols. Small 8vo. Pp. lix + 403, 546. London: William Heinemann; New York: G. P. Putnam's Sons, 1921. 10s. each vol". The Classical Review. 36 (5–6): 138. doi:10.1017/s0009840x00016802. ISSN 0009-840X.
  38. ^ "The Voyage of the Argonauts. By Janet Ruth Bacon. Pp. 187, with six illustrations and three maps. London: Methuen, 1925. 6s". The Journal of Hellenic Studies. 45 (2): 294. 1925. doi:10.2307/625111. ISSN 0075-4269. JSTOR 625111.
  39. ^ Bascom, William (January 1965). "The Forms of Folklore: Prose Narratives". The Journal of American Folklore. 78 (307): 3–20. doi:10.2307/538099. ISSN 0021-8715. JSTOR 538099.
  40. ^ a b c Lindahl, Carl; Dumezil, Georges; Haugen, Einar (April 1980). "Gods of the Ancient Northmen". The Journal of American Folklore. 93 (368): 224. doi:10.2307/541032. ISSN 0021-8715. JSTOR 541032.
  41. ^ Gottfried, Paul (1993-12-21). "Alain de Benoist's Anti-Americanism". Telos. 1993 (98–99): 127–133. doi:10.3817/0393099127. ISSN 1940-459X.
  42. ^ Hiltebeitel, Alf (April 1990). "Mitra-Varuna: An Essay on Two Indo-European Representations of Sovereignty. Georges Dumézil , Derek Coltman". The Journal of Religion. 70 (2): 295–296. doi:10.1086/488388. ISSN 0022-4189.
  43. ^ "Native storytellers connect the past and the future : Native Daughters".
  44. ^ Piquemal, N. 2003. From Native North American Oral Traditions to Western Literacy: Storytelling in Education.
  45. ^ Basso, 1984. "Stalking with Stories". Names, Places, and Moral Narratives Among the Western Apache.
  46. ^ a b c d Hodge, F., Pasqua, A., Marquez, C., & Geishirt-Cantrell, B. (2002). Utilizing Traditional Storytelling to Promote Wellness in American Indian Communities. Journal of Transcultural Nursing, 6-11.
  47. ^ a b MacDonald, M., McDowell, J., Dégh, L., & Toelken, B. (1999). Traditional storytelling today: An international sourcebook. Chicago: Fitzroy Dearborn
  48. ^ a b c Iseke, Judy. (1998). Learning Life Lessons from Indigenous Storytelling with Tom McCallum. Social Sciences and Humanities Research Council.
  49. ^ Eder, D. J. (2007). Bringing Navajo Storytelling Practices into Schools: The Importance of Maintaining Cultural Integrity. Anthropology & Education Quarterly, 38: 278–296.
  50. ^ Lawrence Stone, "The Revival of Narrative: Reflections on a New Old History," Past and Present 85 (1979), pp. 3–24, quote on 13
  51. ^ J. Morgan Kousser, "The Revivalism of Narrative: A Response to Recent Criticisms of Quantitative History," Social Science History vol 8, no. 2 (Spring 1984): 133–49; Eric H. Monkkonen, "The Dangers of Synthesis," American Historical Review 91, no. 5 (December 1986): 1146–57.
  52. ^ 1951-, Shuman, Amy (1986). Storytelling rights : the uses of oral and written texts by urban adolescents. Cambridge [Cambridgeshire]: Cambridge University Press. ISBN 978-0521328463. OCLC 13643520.
  53. ^ The Art of Narrative Mastering the Narrative Essay Style of Writing

Sources

  • Asimov, Nanette. "Researchers help U.S. Military track, defuse rumors." San Francisco Chronicle. October 14, 2011.
  • Baldick, Chris (2004), The Concise Oxford Dictionary of Literary Terms, Oxford: Oxford University Press, ISBN 978-0-19-860883-7
  • Hardin, Jayson. The Rumor Bomb: Theorizing the convergence of New and Old Trends in Mediated U.S. Politics, Southern Review: Communication, Politics & Culture 39, no. I (2006): 84–110
  • Kelley, Stephanie R, Rumors in Iraq: A Guide to Winning Hearts and Minds. Storming Media, 2004. ISBN 1-4235-2249-4
  • Traupman, John C. (1966), The New College Latin & English Dictionary, Toronto: Bantam, ISBN 978-0-553-27619-0
  • Webster's Seventh New Collegiate Dictionary, Springfield: G. & C. Merriam Company, 1969

Further reading

  • Abbott, H. Porter (2009) The Cambridge Introduction to Narrative Second Edition. Cambridge: Cambridge University Press.
  • Bal, Mieke. (1985). Narratology. Introduction to the Theory of Narrative. Toronto: Toronto University Press.
  • Clandinin, D. J. & Connelly, F. M. (2000). Narrative inquiry: Experience and story in qualitative research. Jossey-Bass.
  • Genette, Gérard. (1980 [1972]). Narrative Discourse. An Essay in Method. (Translated by Jane E. Lewin). Oxford: Blackwell.
  • Goosseff, Kyrill A. (2014). Only narratives can reflect the experience of objectivity: effective persuasion Journal of Organizational Change Management, Vol. 27 Iss: 5, pp. 703 – 709
  • Gubrium, Jaber F. & James A. Holstein. (2009). Analyzing Narrative Reality. Thousand Oaks, CA: Sage.
  • Holstein, James A. & Jaber F. Gubrium. (2000). The Self We Live By: Narrative Identity in a Postmodern World. New York: Oxford University Press.
  • Holstein, James A. & Jaber F. Gubrium, eds. (2012). Varieties of Narrative Analysis. Thousand Oaks, CA: Sage.
  • Hunter, Kathryn Montgomery (1991). Doctors' Stories: The Narrative Structure of Medical Knowledge. Princeton, NJ: Princeton University Press.
  • Jakobson, Roman. (1921). "On Realism in Art" in Readings in Russian Poetics: Formalist and Structuralist. (Edited by Ladislav Matejka & Krystyna Pomorska). The MIT Press.
  • Labov, William. (1972). Chapter 9: The Transformation of Experience in Narrative Syntax. In: "Language in the Inner City." Philadelphia, PA: University of Pennsylvania Press.
  • Lévi-Strauss, Claude. (1958 [1963]). Anthropologie Structurale/Structural Anthropology. (Translated by Claire Jacobson & Brooke Grundfest Schoepf). New York: Basic Books.
  • Lévi-Strauss, Claude. (1962 [1966]). La Pensée Sauvage/The Savage Mind (Nature of Human Society). London: Weidenfeld & Nicolson.
  • Lévi-Strauss, Claude. Mythologiques I-IV (Translated by John Weightman & Doreen Weightman)
  • Linde, Charlotte (2001). Chapter 26: Narrative in Institutions. In: Deborah Schiffrin, Deborah Tannen & Heidi E. Hamilton (ed.s) "The Handbook of Discourse Analysis." Oxford & Malden, MA: Blackwell Publishing.
  • Norrick, Neal R. (2000). "Conversational Narrative: Storytelling in Everyday Talk." Amsterdam & Philadelphia: John Benjamins Publishing Company.
  • Ranjbar Vahid. (2011) The Narrator, Iran: Baqney
  • Pérez-Sobrino, Paula (2014). "Meaning construction in verbomusical environments: Conceptual disintegration and metonymy" (PDF). Journal of Pragmatics. Elsevier. 70: 130–151. doi:10.1016/j.pragma.2014.06.008.
  • Quackenbush, S.W. (2005). "Remythologizing culture: Narrativity, justification, and the politics of personalization" (PDF). Journal of Clinical Psychology. 61 (1): 67–80. doi:10.1002/jclp.20091. PMID 15558629.
  • Polanyi, Livia. (1985). "Telling the American Story: A Structural and Cultural Analysis of Conversational Storytelling." Norwood, NJ: Ablex Publishers Corporation.
  • Salmon, Christian. (2010). "Storytelling, bewitching the modern mind." London, Verso.
  • Shklovsky, Viktor. (1925 [1990]). Theory of Prose. (Translated by Benjamin Sher). Normal, IL: Dalkey Archive Press.
  • Todorov, Tzvetan. (1969). Grammaire du Décameron. The Hague: Mouton.
  • Toolan, Michael (2001). "Narrative: a Critical Linguistic Introduction"
  • Turner, Mark (1996). "The Literary Mind"
  • Ranjbar Vahid. The Narrator, Iran: Baqney 2011 (summary in english)
  • White, Hayden (2010). The Fiction of Narrative: Essays on History, Literature, and Theory, 1957–2007. Ed. Robert Doran. Baltimore: Johns Hopkins University Press.

External links

Classical Hollywood cinema

Classical Hollywood cinema, classical Hollywood narrative, the Golden Age of Hollywood, Old Hollywood, and classical continuity are terms used in film criticism which designate both a narrative and visual style of film-making which developed in and characterized American cinema between the 1910s and the 1960s, and eventually became the most powerful and pervasive style of film-making worldwide.

Epic poetry

An epic poem, epic, epos, or epopee is a lengthy narrative poem, ordinarily involving a time beyond living memory in which occurred the extraordinary doings of the extraordinary men and women who, in dealings with the gods or other superhuman forces, gave shape to the moral universe that their descendants, the poet and his audience, must understand to understand themselves as a people or nation.Another type of epic poetry is epyllion (plural: epyllia), which is a brief narrative poem with a romantic or mythological theme. The term, which means "little epic", came into use in the nineteenth century. It refers primarily to the erudite, shorter hexameter poems of the Hellenistic period and the similar works composed at Rome from the age of the neoterics; to a lesser degree, the term includes some poems of the English Renaissance, particularly those influenced by Ovid. The most famous example of classical epyllion is perhaps Catullus 64.

Essay

An essay is, generally, a piece of writing that gives the author's own argument — but the definition is vague, overlapping with those of a paper, an article, a pamphlet, and a short story. Essays have traditionally been sub-classified as formal and informal. Formal essays are characterized by "serious purpose, dignity, logical organization, length," whereas the informal essay is characterized by "the personal element (self-revelation, individual tastes and experiences, confidential manner), humor, graceful style, rambling structure, unconventionality or novelty of theme," etc.Essays are commonly used as literary criticism, political manifestos, learned arguments, observations of daily life, recollections, and reflections of the author. Almost all modern essays are written in prose, but works in verse have been dubbed essays (e.g., Alexander Pope's An Essay on Criticism and An Essay on Man). While brevity usually defines an essay, voluminous works like John Locke's An Essay Concerning Human Understanding and Thomas Malthus's An Essay on the Principle of Population are counterexamples.

In some countries (e.g., the United States and Canada), essays have become a major part of formal education. Secondary students are taught structured essay formats to improve their writing skills; admission essays are often used by universities in selecting applicants, and in the humanities and social sciences essays are often used as a way of assessing the performance of students during final exams.

The concept of an "essay" has been extended to other media beyond writing. A film essay is a movie that often incorporates documentary filmmaking styles and focuses more on the evolution of a theme or idea. A photographic essay covers a topic with a linked series of photographs that may have accompanying text or captions.

First-person narrative

A first-person narrative is a mode of storytelling in which a narrator relays events from their own point of view using the first person i.e. "I" or "we", etc. It may be narrated by a first person protagonist (or other focal character), first person re-teller, first person witness, or first person peripheral (also called a peripheral narrator). A classic example of a first person protagonist narrator is Charlotte Brontë's Jane Eyre (1847), in which the title character is also the narrator telling her own story, "I could not unlove him now, merely because I found that he had ceased to notice me".This device allows the audience to see the narrator's mind's eye view of the fictional universe, but it is limited to the narrator's experiences and awareness of the true state of affairs. In some stories, first-person narrators may relay dialogue with other characters or refer to information they heard from the other characters, in order to try to deliver a larger point of view. Other stories may switch the narrator to different characters to introduce a broader perspective. An unreliable narrator is one that has completely lost credibility due to ignorance, poor insight, personal biases, mistakes, dishonesty, etc., which challenges the reader's initial assumptions.

Flashback (narrative)

A flashback (sometimes called an analepsis) is an interjected scene that takes the narrative back in time from the current point in the story. Flashbacks are often used to recount events that happened before the story's primary sequence of events to fill in crucial backstory. In the opposite direction, a flashforward (or prolepsis) reveals events that will occur in the future. Both flashback and flashforward are used to cohere a story, develop a character, or add structure to the narrative. In literature, internal analepsis is a flashback to an earlier point in the narrative; external analepsis is a flashforward to a time before the narrative started.In film, flashbacks depict the subjective experience of a character by showing a memory of a previous event and they are often used to "resolve an enigma". Flashbacks are important in film noir and melodrama films. In movies and television, several camera techniques, editing approaches and special effects have evolved to alert the viewer that the action shown is a flashback or flashforward; for example, the edges of the picture may be deliberately blurred, photography may be jarring or choppy, or unusual coloration or sepia tone, or monochrome when most of the story is in full color, may be used. The scene may fade or dissolve, often with the camera focused on the face of the character and there is typically a voice-over by a narrator (who is often, but not always, the character who is experiencing the memory).

Frame story

A frame story (also known as a frame tale or frame narrative) is a literary technique.

Sometimes this serves as a companion piece to a story within a story, where an introductory or main narrative is presented, at least in part, for the purpose of setting the stage either for a more emphasized second narrative or for a set of shorter stories. The frame story leads readers from a first story into another, smaller one (or several ones) within it. The frame story may also be used to allow readers to understand a part of the story, then jump to another part that can now be understood. This is not however, to be mixed up with a narrative structure or character personality change.

Genesis creation narrative

The Genesis creation narrative is the creation myth of both Judaism and Christianity. The narrative is made up of two stories, roughly equivalent to the first two chapters of the Book of Genesis. In the first, Elohim (the Hebrew generic word for God) creates the heavens and the Earth in six days, then rests on, blesses and sanctifies the seventh. In the second story, God, now referred to by the personal name Yahweh, creates Adam, the first man, from dust and places him in the Garden of Eden, where he is given dominion over the animals. Eve, the first woman, is created from Adam and as his companion.

Borrowing themes from Mesopotamian mythology, but adapting them to the Israelite people's belief in one God, the first major comprehensive draft of the Pentateuch (the series of five books which begins with Genesis and ends with Deuteronomy) was composed in the late 7th or the 6th century BCE (the Jahwist source) and was later expanded by other authors (the Priestly source) into a work very like the one we have today. The two sources can be identified in the creation narrative: Priestly and Jahwistic. The combined narrative is a critique of the Mesopotamian theology of creation: Genesis affirms monotheism and denies polytheism. Robert Alter described the combined narrative as "compelling in its archetypal character, its adaptation of myth to monotheistic ends".Misunderstanding the genre of the Genesis creation narrative, meaning the intention of the author(s) and the culture within which they wrote, can result in a misreading; misreading the story as history rather than theology leads to Creationism and the denial of evolution. As scholar of Jewish studies, Jon D. Levenson, puts it:

How much history lies behind the story of Genesis? Because the action of the primeval story is not represented as taking place on the plane of ordinary human history and has so many affinities with ancient mythology, it is very far-fetched to speak of its narratives as historical at all."

Genesis flood narrative

The Genesis flood narrative is a flood myth found in the Tanakh (chapters 6–9 in the Book of Genesis). The story tells of God's decision to return the Earth to its pre-creation state of watery chaos and then remake it in a reversal of creation. The narrative has very strong similarities to parts of the Epic of Gilgamesh which predates the Book of Genesis.

A global flood as described in this myth is inconsistent with the physical findings of geology and paleontology. A branch of creationism known as flood geology is a pseudoscientific attempt to argue that such a global flood actually occurred.

List of narrative techniques

A narrative technique (also known more narrowly for literary fictional narratives as a literary technique, literary device, or fictional device) is any of several specific methods the creator of a narrative uses to convey what they want—in other words, a strategy used in the making of a narrative to relay information to the audience and, particularly, to "develop" the narrative, usually in order to make it more complete, complicated, or interesting. Literary techniques are distinguished from literary elements, which exist inherently in works of writing.

Literature review

A literature review or narrative review is a type of review article. A literature review is a scholarly paper, which includes the current knowledge including substantive findings, as well as theoretical and methodological contributions to a particular topic. Literature reviews are secondary sources, and do not report new or original experimental work. Most often associated with academic-oriented literature, such reviews are found in academic journals, and are not to be confused with book reviews that may also appear in the same publication. Literature reviews are a basis for research in nearly every academic field. A narrow-scope literature review may be included as part of a peer-reviewed journal article presenting new research, serving to situate the current study within the body of the relevant literature and to provide context for the reader. In such a case, the review usually precedes the methodology and results sections of the work.

Producing a literature review may also be part of graduate and post-graduate student work, including in the preparation of a thesis, dissertation, or a journal article. Literature reviews are also common in a research proposal or prospectus (the document that is approved before a student formally begins a dissertation or thesis).

Narration

Narration is the use of a written or spoken commentary to convey a story to an audience. Narration encompasses a set of techniques through which the creator of the story presents their story, including:

Narrative point of view: the perspective (or type of personal or non-personal "lens") through which a story is communicated

Narrative voice: the format through which a story is communicated

Narrative time: the grammatical placement of the story's time-frame in the past, the present, or the future.A narrator is a personal character or a non-personal voice that the creator (author) of the story develops to deliver information to the audience, particularly about the plot. In the case of most written narratives (novels, short stories, poems, etc.), the narrator typically functions to convey the story in its entirety. The narrator may be a voice devised by the author as an anonymous, non-personal, or stand-alone entity; as the author as a character; or as some other fictional or non-fictional character appearing and participating within their own story. The narrator is considered participant if he/she is a character within the story, and non-participant if he/she is an implied character or an omniscient or semi-omniscient being or voice that merely relates the story to the audience without being involved in the actual events. Some stories have multiple narrators to illustrate the storylines of various characters at the same, similar, or different times, thus allowing a more complex, non-singular point of view.

Narration encompasses not only who tells the story, but also how the story is told (for example, by using stream of consciousness or unreliable narration). In traditional literary narratives (such as novels, short stories, and memoirs), narration is a required story element; in other types of (chiefly non-literary) narratives, such as plays, television shows, video games, and films, narration is merely optional.

National Film Registry

The National Film Registry (NFR) is the United States National Film Preservation Board's (NFPB) selection of films deserving of preservation. The NFPB, established by the National Film Preservation Act of 1988, was reauthorized by acts of Congress in 1992, 1996, 2005, and again in October 2008. The NFPB's mission, to which the NFR contributes, is to ensure the survival, conservation, and increased public availability of America's film heritage. The 1996 law also created the non-profit National Film Preservation Foundation which, although affiliated with the NFPB, raises money from the private sector.

Plot (narrative)

Plot refers to the sequence of events inside a story which affect other events through the principle of cause and effect. The causal events of a plot can be thought of as a series of sentences linked by the connector "and so". Plots can vary from simple structures—such as in a traditional ballad—to complex interwoven structures sometimes referred to by the term imbroglio. The term plot can also serve as a verb referring to a character planning future actions in the story.

In the narrative sense, the term highlights important points which have consequences within the story, according to Ansen Dibell. Plot is similar in meaning to the term storyline.

Post-structuralism

Post-structuralism is associated with the works of a series of mid-20th-century French continental philosophers and critical theorists who came to international prominence in the 1960s and 1970s. The term is defined by its relationship to the system before it—structuralism (an intellectual movement developed in Europe from the early to mid-20th century). Structuralism proposes that one may understand human culture by means of a structure—modeled on language (structural linguistics)—that differs from concrete reality and from abstract ideas—a "third order" that mediates between the two.Essentially, human culture can be understood by looking at the mediumistic construct(s) which connect the person's abstract understandings of reality (when we understand reality, the model of reality we form in our head is called "abstract understandings"), with actual reality. Language is perhaps the most prominent example of a mediumistic construct. This is why linguistics is such an important part of structuralist and post-structuralist conversation. The distinction, however, between general structuralism and post-structuralism is post-structuralism's disagreement with structuralism on the range of meaning of these mediumistic constructs; post-structuralism essentially emphasises the plurality of meaning and the instability of concepts that structuralism uses to define society, such as language and literature.

Post-structuralist authors all present different critiques of structuralism, but common themes include the rejection of the self-sufficiency of structuralism and an interrogation of the binary oppositions that constitute its structures. Writers whose works are often characterised as post-structuralist include: Roland Barthes, Jacques Derrida, Michel Foucault, Gilles Deleuze, Judith Butler, Jean Baudrillard, Julia Kristeva, and Jürgen Habermas, as well as others from the Frankfurt Schools, although many theorists who have been called "post-structuralist" have rejected the label.Existential phenomenology is a significant influence; Colin Davis has argued that post-structuralists might just as accurately be called "post-phenomenologists".

Red herring

A red herring is something that misleads or distracts from a relevant or important question. It may be either a logical fallacy or a literary device that leads readers or audiences toward a false conclusion. A red herring may be used intentionally, as in mystery fiction or as part of rhetorical strategies (e.g., in politics), or may be used in argumentation inadvertently.

The term was popularized in 1807 by English polemicist William Cobbett, who told a story of having used a kipper (a strong-smelling smoked fish) to divert hounds from chasing a hare.

Setting (narrative)

The setting is both the time and geographic location within a narrative, either nonfiction or fiction. A literary element, the setting helps initiate the main backdrop and mood for a story. Setting has been referred to as story world or milieu to include a context (especially society) beyond the immediate surroundings of the story. Elements of setting may include culture, historical period, geography, and hour. Along with the plot, character, theme, and style, setting is considered one of the fundamental components of fiction.

Stream of consciousness

In literary criticism, stream of consciousness is a narrative mode or method that attempts "to depict the multitudinous thoughts and feelings which pass through the mind" of a narrator. The term was coined by William James in 1890 in his The Principles of Psychology, and in 1918 the novelist May Sinclair (1863–1946) first applied the term stream of consciousness, in a literary context, when discussing Dorothy Richardson's (1873–1957) novels. Pointed Roofs (1915), the first work in Richardson's series of 13 semi-autobiographical novels titled Pilgrimage, is the first complete stream of consciousness novel published in English. However, in 1934, Richardson comments that "Proust, James Joyce, Virginia Woolf & D.R. ... were all using 'the new method', though very differently, simultaneously". There were, however, many earlier precursors and the technique is still used by contemporary writers.

Theme (narrative)

In contemporary literary studies, a theme is a central topic a text treats. Themes can be divided into two categories: a work's thematic concept is what readers "think the work is about" and its thematic statement being "what the work says about the subject". Themes are often distinguished from premises.

The most common contemporary understanding of theme is an idea or point that is central to a story, which can often be summed in a single word (for example, love, death, betrayal). Typical examples of themes of this type are conflict between the individual and society; coming of age; humans in conflict with technology; nostalgia; and the dangers of unchecked ambition. A theme may be exemplified by the actions, utterances, or thoughts of a character in a novel. An example of this would be the thematic idea of loneliness in John Steinbeck's Of Mice and Men, wherein many of the characters seem to be lonely. It may differ from the thesis—the text's or author's implied worldview.A story may have several themes. Themes often explore historically common or cross-culturally recognizable ideas, such as ethical questions, and are usually implied rather than stated explicitly. An example of this would be whether one should live a seemingly better life, at the price of giving up parts of one's humanity, which is a theme in Aldous Huxley’s Brave New World. Along with plot, character, setting, and style, theme is considered one of the components of fiction.

Tribeca Film Festival

The Tribeca Film Festival (TFF) is a prominent film festival held in the Tribeca neighborhood of Manhattan, showcasing a diverse selection of independent films. Since its inaugural year in 2002, it has become a recognized outlet for independent filmmakers in all genres to release their work to a broad audience.

In 2006 and 2007, the Festival received over 8,600 film submissions and held 1,500 screenings. The Festival's program line-up includes a variety of independent films including documentaries, narrative features and shorts, as well as a program of family-friendly films. The Festival also features panel discussions with personalities in the entertainment world and a music lounge produced with ASCAP to showcase artists. One of the more distinctive components of the Festival is its Artists Awards program in which emerging and renowned artists celebrate filmmakers by providing original works of art that are given to the filmmakers' competition winners. Past artists of the Artists Award Program have included Chuck Close, Alex Katz, and Julian Schnabel.

The festival now draws an estimated three million people—including often-elusive celebrities from the worlds of art, film, and music—and generates $600 million annually.

Narrative
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Theme
Style
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Narration
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