By Monika Fludernik
During this flooring breaking paintings of synthesis, Monika Fludernik combines insights from literary conception and linguistics to supply a hard new conception of narrative. This e-book is either an old survey and theoretical research, with the writer drawing on a huge variety of examples from the earliest oral learn to modern experimental fiction. She makes use of those examples to turn out that contemporary literature, faraway from heralding the ultimate cave in of narrative, represents the epitome of a centuries lengthy developmental approach.
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Additional info for Towards A Natural Narratology
My translation) My proposals therefore tend towards entirely discarding the concept of fictionality or of the fictional, and this for two reasons. One needs to distinguish carefully between the fictional, on the one hand, and the fictive or hypothetical, on the other. Fictionality and narrativity appear to collocate in roughly the same generic contexts. Fictionality typically surfaces in narrative form (including narrative poetry, drama and film); it is not generally employed to define poetry,53 sculpture or music, and in painting is restricted to specifically narrative representations.
In 1975 Jonathan Culler proposed the concept of naturalization to account for readers' interpretative strategies when confronting textual or semantic inconsistencies (1975:134±60). Culler's naturalization in particular embraces the familiarization of the strange:40 TOWARDS A `NATURAL' NARRATOLOGY 23 The strange, the formal, the fictional, must be recuperated or naturalized, brought within our ken, if we do not want to remain gaping before monumental inscriptions. And the first step in the process of naturalizing or restoring literature to a communicative function is to make écriture itself a period and generic concept.
A fourth schema that I will be using a great deal is that of ACTION or ACTING. Properly speaking, this fourth frame really belongs with level I since it refers to the what and not to the how of narrative experience. However, as will become clear in a moment, in terms of the interpretative use made of frames located on level II, ACTING also is one of the frames that readers resort to in the process of narrativization, and this schemaÐvisualiz ed at level IIÐdoes not merely comprise understandings about goal-oriented human action but additionally invokes the entire processuality of event and action series.