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NARRATIVE SEQUENCE
Hll I inCONTEMPORARY
t
E I NARRATOLOGY
lI I
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EDITED BY RAPHAEL BARONI

FRANçOrSE REVAZ
THEORY AND INTERPRETATION OF NARRATIVE
James Phelan, PeterJ. Rabinowitz, and Robyn Warhol, Series Editors

"Norrotive Seguence in Contemporory Norrotology coheres very strongly as a series of explor-


ations ofcurrent research from various perspectives on what narrative theory can tell us
about sequence-mostly sequence of discourse, though occasionally sequence of story.
People who do narrative theory and who teach narrative theory will want to read this
book." -DAVID RICHTER, CUNY GRADUATE SCHOOL

Since Aristotle, there has been an assumption that narrative is a representation of actions
or sequences of events, that this representation aims to elicit emotions, and that well-
formed narratives constitute a whole, with a beginning, a middle, and an end. The nature,
role, and relative importance of constituent notions like "sequence of events" and "plot"
have been discussed repeatedly and, as a result, have become rather slippery. While recent
developments in contemporary narrative theory, such as unnatural, transmedial, cogni-
tive, and functionalist narratology, shed new light on these notions, Norrotive Sequence
in Contemporory Norrotoloqy goes beyond specific approaches to narrative, illuminating
sequence and plot in all the diversity of their manifestations, forms, and functions.

This volume, edited by Raphaêl Baroni and Françoise Revaz, includes contributions from
some of the most influential scholars in narrative studies: Alain Boillat, Peter Hühn,
Emma Kafalenos, Franco Passalacqua, James Phelan, Federico Pianzola, John Pier,
Gerald Prince, Brian Richardson, Marie-Laure Ryan, Eyal Segal, and Michael Toolan.
Essays range in focus from musical narrativity and rhetorical narrative theory to comic
strips and re-examinations of classical and postclassical narratology. All of the essays con-
tribute fresh understandings of foundational concepts in the field of narratology.

RAPHAËL BARONI is Professor of French at the University of Lausanne's School of


French as a Foreign Language in Switzerland. FRANçolSE REVAZ is Professor of French
Linguistics in the Department of Languages and Literature at the University of Fribourg
in Switzerland.

COVER IMAGE: Piet Mondrian, Broodwoy Boogie-Woogie,1942 43

COVER DESIGN: Thao Thai

tsBNl 3 978-0-8142-1296-7
THE OHIO STATE
90000
UNIVERSITY PRESS
Columbus, Ohio
www.ohiostatepress.org
I
Y

Narrative Sequence
in Contemporary
Narratology
I

T I
Edited by RAPHAËL geRoNI and FRANÇOISE REVAZ

t
The Ohio State University Press . Columbus
a-
I

CONTENTS

List of Illustrations vll

Introduction: The Many Ways of Dealing with Sequence


Copyright @ zoró by The Ohio State University.
in Contemporary Narratology
All rights reserved.
RAPHAEL BARONI

I Library of Congress Cataloging-in-Publication Data

Names: Baroui, Raphaël, eclitor. I Revaz, Françoise' editor'


Title: Narrative sequence in contemporary narratology / edited by Raphaël
Baroni and
Part

r
I Theorizirtg Sequence

On Narrative Sequence, Classical and Postclassical ll


I Fratrçoise Revaz. GERALD PRINCE
inter
:'fhe I Series: TheorY ancl z The Configuration of Narrative Sequences 20
ative index'
]OHN PIER
ez+zl IsBN 0814212964

(cloth : alk. paper) ¡ The Eventfulness of Non-Events 37


Subjects: LcsH: N¿rration (Rhetoric) | Discourse analysis' Narrative' PETER HUHN
Classification: Lcc PN212 rv3785 zor5 | roc 8o8/ o36-dcz3
LC record availabìe at http;//lccn.loc.gov I 2ot5o36743
Part II Rhetorical Perspectives on Narrative Progression
Cover design by Thao Thai
Text design by |uliet Williams
4 Privileged Authorial Disclosure about Events: Wolff's
Type set in Minion Pro
"Bullet in the Brain' and O'Harat 'Appearances" 51

Printed by Thomsou-Shore, Inc. ]AMES PHEI,AN

Cover image: Broadway Boogie'Woogie was painted in r94z by Piet Mondrian


after he 5 Ending Twice Over (Or More): Alternate Endings in Narrative 7r
Dutch painter was impressecl by the
reached New York to escape the rvar in Europe' The EYAL SEGAL
on the intersecting avenues ofthe city and the syncopated dynamism
movement ofcars
of jazz music. In this work, he reinterprets his visual lar-rguage, macle of horizontal
ancl 6 Virtualities of Plot and the Dynamics of Rereading 87
the rhythm and tnovemetlt ofthe
vertical lines and flat areas in primary colors, to iucLease RAPHAEL BAIIONI
narratolog¡ this work reflects a cluest for a more dyrramic
composition. Like contemporary
form of expression.
Part Iil Sequences in Nonliterary Narratives
of the American
@ fhe paper usecl in this publication meets the minimum requirements
National Stanclard for Information Sciences-Permanence of Paper for Printed Library Z Intrigue, Suspense, and Sequentiality in Comic Strips:
Reading Little Sammy Sneeze 707
Materials. ANSI 239.48-1992.
ALAIN BOILLAT and FRANÇOISE REVAZ
98165432t
-lr-
I

Vi CONTENTS

ILLUSTRATIONS
I Musical NarrativitY 130

I MICHAEL TOOLAN

9 Narrativizing the Matrix 151

E,MMA KAFALENOS

Part IV (Jrutatural ønd Nonlinear Sequences

\63
1o Unusual and Unnatural Narrative Sequences
BRIAN RICHARDSON
Figure 6.r Dynamics of known and unknown plot 94
11 Sequence, Linearity, Spatialit¡ or: Why Be Afraid of Fixed
176 Figure 6.2 Virtualities of Peter's Promise 99
Narrative Order?
MARIE.LAURE RYAN Figure 6.3 Virtualities of Prayer at Gethsemane 100

I Conclusion: Epistemological Problems in Narrative Theory:


Objectivist vs. Constructivist Paradigm
FRANCO PASSALACQUA and FFDERICO PIANZOLA
195
Figure 7.r

Figure 7.2
Winsor McCay, Little Sammy Sneeze,

Peter Newell, The Naps of Polþ Sleepyhead,


September

9o6
25> rgo4 ro8

110

2t9
Contributors Figure 7.3 The Lumière brothers, LArroseur ørcosé, 1895 r72
223
Index
Figure 7.4 Winsor McCay, Little Sammy Sneeze, April z, r9o5 7t4

Figure 7.5 Winsor McCay, Little Snmmy Sneeze, t9o4-6 1r5

Figure 7.6 Winsor McCa¡ Little Sammy Sneeze, t9o4-6 rr8

Figure 7.7 Winsor McCay, Little Sammy Sneeze, March D, tgos u8

Figure 7.8 Winsor McCa¡ Little Sammy Sneeze, fanuary 29, tgos r19

Fígure 7.9 Roba, Aventures de Boule et Bill, ry99 72t

Figure 7.ro Winsor McCa¡ Little Sammy Sneeze, October 23,79c4 723

Figure 7.rr Winsor McCay, Little Sømtny Sneeze, )anuary 15, 1905 724

Ftgure 7tz Winsor McCay, Little Samnry Sneeze, October t6, r9o4 tz6

Figure n.r Types of networks: (a) distributed network, (b) tree,


(c) complete graph 179

Figure rr.z Generative network for the sample stories 185

vlr
t-
I

viii LIST OF ILLUSTRATIONS

Figure n.3 The linear discourse strtlcture of Robert Coovert


"The BabYsitter" r88

INTRODUCTION
Figure il.4. what the readert mental map of "The Babysitter" could
look like 189

Figure rr.5 Structure of a typical computer game r92


The Many Ways of Dealing with Sequence
in Contemporary Narratology
RAPHAËL BARONI

I
I

SINCE ARISTOTLE, poeticians and, more recentl¡ semioticians, linguists,


and narratologists have debated many basic features of narrative first identi-
fied in Ihe Poetics. Among them, we frnd the common assumption that nar-
rative is an "imitation' or "representation' of actions (mimesis praxeos); that
this "representation'aims to elicit emotions, such as fear and hope; and that
"well-formed" stories are organized as a "whole" (holos), meaning that they
possess a beginning, a middle, and an end. These three aspects of narrative are
related to temporality, since actions told unfold in time, fear and hope orient
the attention of the audience toward an uncertain resolution, and the unity of
representation is assured by the cataphoric function ofthe beginning and the
anaphoric function ofthe ending.
Since then, however, there have been many ways to deal with the nature,
role, and relative importance of each of these components of narrative
sequences. Indeed, as stated by Hilary Dannenberg: "Many key definitions
of narrative hinge on the aspect of temporal sequentialit¡ and the repeated
attempts to redefine the parameters of plot reflect both the centrality and
the complexity of the temporal dimension of narrative" ("Plot" 435). Based
on the duality of fabula and sjuzhet emphasized by Boris Tomachevsk¡ con-
ceptualizations of narrative sequence can be linked either to the chronology
of the events, to its reorganization by the narrative representation, or to the

1
I -r-
2 IN'f RODUCTION, RAPHAËL BARONI SEQUENCE IN CON'lEMPOIìARY NARRATOLOGY ' 3

interplay between these two sequential dimensions.r Derived from Aristotle's a more dynamic perspective, highlighting the moving confìguration of nar-
mutltos, the concept of plot-not necessarily synonymolls with sequence- rative sequences in the reader's mind while they progress through the story.
is even more polysemic, since it can be related to each of these aspects and can As discussed by Franco Passalacqua and Federico Pianzola in the conclusion
also describe additional properties: for example, "plot" can be understood as of this volume, this "shift"2 can be also described as an epistemological tension
the causal relation between the events told (Forster) or as a rhetorical device between an objectivist conceptiou, centered on a reified and/or idealizedfab-
whose primary function is to arouse a "cognitive desire'for a possible end- ula, and a constructivist conception, focusing on the interaction between the
ing (Brooks Dannenbe rg, Coincidence and Couttterfactttality 6; Baroni r8)'
37; objective features of narrative representations and the subjective experietrce
while "emplotment" is sometimes viewed as a coufìguratiotl couferring mean- of the audience. This shift stood out clearly when Umberto Eco wrote, in ry79'
ing and unity on the enclless and cìraotic flow of time (Ricæur). This has lecl thal fabula "is not produced once the text has been clefìnitely read: the .føbula
H. Porter Abbott to state that plot "is an even slipperier term than narration, is the result of a continuous series of abductions made during the course of
both more polyvalent and more approximate in its meanings' indeed so
'vague the reading. Therefore, the fabula is always experienced step by step" (:r). This
in ordinary usage' that narratologists often avoid it altogether" (43). Hence' conception is far removed from the formalist description of narrative func-
while it is necessary to distinguish between the slippery notion of plot and a tions found in Vladimir Propp's highly influential Morphology, since, as noted
more precise conceptualization of narrative sequences-with a focus on føb- by David Herman, "[Propp's] approach gave an overly deterministic color-
ulq andlor sjuzlrct-, there is a need to clarify the relation between the two ation to narrative sequences. . . . Part of the interest and complexity of nar-
concepts, because it is obvious that plot is connected in some ways with the rative depends on the merely probabilistic, not cleterministic, links between
Sequential nature of narratives. In a recent survey, Karin Kukkonen suggests sorne actions and events" (Story Logic g+). In 1984, Peter Brooks described this
I distinguishing between "three basic ways of conceptualizing plot": change of focus by highlighting the dynamics of plots in connection with the
reader's affective experience:
(r) plot as a fixed, global structure. The configuratior.r of the arrangement
of all story evetlts, from beginr.ring, micldle to end, is considered' I am convinced that the study ofnarrative needs to rnove beyond the various
(za) Plot as progressive strrlcturation. The conuections between story formalist criticisms that have predominatecl in our time: formalisrns that
events, motivations, and consequences as readers perceive them are have taught us much, but which ultimately-as the later work of Barthes
considered. recognizecl-cannot cleal with the dynamics of texts as actualized ir-r the
(zb) plot aspart ofthe authorial design. The author's way ofstructuring the reading process. (¡s-¡6)
narrative to achieve particular effects is consiclered. (52-SS)
Twenty years later, Emma Kafalenos, offering a panorama on contempo-
In this volume, while some authors, like Prince or Hühn, focus more spe- rary narratolog¡ insisted on the new importance conferred on the interaction
cifically on the configuration of the story events, others, Iike Eyal Segal or between the reader ancl the representation:
of the story
lames Phelan, are more focusecl on the proglessive structuration
by the reader and the authorial design of the narrative discourse. Indeed, the What I see new is the specificity of the analysis of how readers' clecisions
history of narratology provides an interesting insight on how various episte- contribute to the constluction of the narrative worid' ' '. Further devel-
mological frameworks influence the way "slippery" objects are seized. while opments along this path, if it occttrs, wiìl bring us an increasingly precise
forrnalists and structuralists mainly focused their attention on the logical accoLrnt of sites where indeterrninacy can enter a narrative representation,
(and
organization of fully formed stories in orcler to describe their immanent and of conditions that heighteu the interactivity between representation and
more or less invariant) sequential organization, more recent paradigms- reader in constructing uarrative worlcls. (rr4)
inclucling reception theory (Eco), psychoanalysis (Brooks), rhetoric (Phelan'
z. We should rather speak of "shift" iusteacl of "evolution' sitrce, as statecl by Sternberg,
Sternberg), and cognitive science (Herman, Ryan, Fludernik)-have privileged functionalist paracligms existed lclng before and cven contemporaneously rvith forlnalist and
structuralist theories (see "Reconceptualizing Narratology"). This is the reason rvhy Sternberg
r. on this specific irspect, see Ster.nber.g, Exltosítionnl Modes Lutd Tbnryot nl ot dcrítry. also rejects the opposition betweett'tlassical" ancl "postclassical" narratologies.
I -r-
INTRODUCT'ION, RAPHAËL BARONI SEQUENCE IN CONTEMPORARY NARRATOLOGY . 5
4

More recently, Hilary Dannenberg proposed a definition of plot aimed at While the first chapters deal primarily with the question of the relation
encompassing the logical configuration of the fabula-which constituted between narrative sequence and narrativit¡ the second section illustrates more
the main focus of interest in formalist and structuralist paradigrns-and the specifically the rhetorical paradigms that have improved our understanding of
"dynamics of texts" related to the reader's progression through the text. To do the narrative fnnctions shaping the reader's progression through the text' thus
so, she considers "cognitive desire" to be in possession ofthe
"final configura- marking an important revision of "classical" models of narrative sequence.
tion' of the stor¡ but this "coherent and definitive constellation of events" can As stated by Wayne C. Booth, the rhetoric of plot that originated in Aristotle's
be revealed only at the closure of the narrative, while "plot in its unresolved reflections on catharsis was neglected by the New Criticism under the allega-
aspect" is described as "an ontologically Llnstable matrix of possibilities" tions of"plot heresy" and the "intentional" and "affective" fallacies (8+). Over
(Coitrcidence and Cowtterfactuality r3). Capitalizing on older concepts, but the last forty years, however, we have witnessed the emergence of a "second
also opening up new perspectives embracing questions that include narrative generation rhetorical theory" helping to recontextualize narrative structures
interest, narrative progression, and the cognitive and emotional engagement in the light of the relationship between an "implied author" and its "authorial
of the reader, we see that, at least in Dannenberg's conception, the evolution of audience" (Shen). fames Phelan's contribution to this volume offers an exem-
narrative theory over the past forty years does not necessarily lead to a clash of plary case ofthis new rhetorical approach centered on narrative progression.
paradigms. As stated by David Herman: "Rethinking the problem of narrative In this case, he analyzes different kinds of "privileged authorial disclosures"

I sequences can promote the development of a postclassical narratology that


is not necessarily poststructuralist, an enriched theory that draws on con-
cepts and methods to which the classical narratologists did not have access"
and their effects on the reader. In the next chapter, Eyal Segal, following the
perspective opened up by Meir Sternberg, examines various characteristics
of alternative endings, the two major ones being the relations between the
I ("Scripts, Sequences, and Stories" ro48-49). endings' degree of (un)happiness and of (un)conventionality (e.g., in terms
In this volume, Gerald Prince's opening chapter offers a broad overview of closure/openness). Raphaël Baroni, meanwhile, argues that unactualized
of the various ways classical and postclassical narratologies have repeatedly virtualities of the story may preserve their emotional impact on the reitera-
tried to (re)define narrative sequence. Prince points out the tensions but also tion of a narrative, especially when they belong explicitly to Íhe føbulø and are
the convergences and relations between these definitions, especially by dis- associated with specific value-laden alternatives.
cussing the relative importance of text and context. In his chapter, John Pier In a survey dealing with the recent evolutions in narrative studies, fan
then sets forth a configurational approach to narrative sequence that is both Christoph Meister signals "a shift in focus from text-based phenomena to the
prototypical and intersequential. Prototypicall¡ narrative sequence is a form cognitive functions of oral and non-literary narrative, thus opening a new
of 'diagrammatic iconicity" (Peirce) for patterning chronological-causal rela- chapter in the narratological project" (34o). Meister insists particularly on
tions into a transformation from an initial to a final state. As such, sequence studies that "explore the relevance of narratological concepts for the study of
is not characlerized by narrativity. Viewed intersequentiall¡ the sequence is genres and media outside the traditional object domain of text-based literary

the product of the relations between "the absolute dynamics of the causally narrative" (34o). The studies gathered in this volume offer an opportunity to
propelled action' and "the variable dynamics of the reading-process" (Stern- illustrate the challenge raised by narratives that depart from the canonical
berg) and thus emerges from the dynamic forces of narrativity. As for Peter stories we find in classical literary works. Highlighting a phenomenon similar
Hühn, he shows how the notion of "eventfulness," which plays a central role to the paradoxical suspense analyzed in the previous chapte¡ Alain Boillat
in the dynamics of plots and the definition of narrativity, is closely linked to and Françoise Revaz study the narrative interest of comics series, where mul-
cultural and historical contexts, since the perception by the reader of "some- tiple variations around a single motif are able to captivate the audience. As for
thing meaningful happening" is necessarily linked to a situated interpreta- Michael Toolan, he takes up the controversial issue of musical narrativit¡
tion. He also distinguishes between two types of 'tventsi' since something showing how a sequential art, while being apparently nonreferential, can be
can happen in the story but remain pointless or insignificant in the narrative related to some kind of narrative experience. In the last chapter of this section,
economy, while some "non-events" can become highly "eventful" when they Emma Kafalenos introduces the concept of "matrix" in order to explain how
are seen as an alternative to specific expectations' speciflc groups of people interpret differently the same event (and therefore its
- -r-
I

SEQUENCE IN CONl'EMPORARY NARRATOLOGY 7


6 INTRODUCTION, Iì.APHAËL BARONI

WORKS CITED
I Abbott, H. Porter:. "Story, Plot, ancl Narratior-r." In 7t¿ Cnnltridge contpntriotr to Naf rative, ediÍed
by Davicl Hermau, 39-5t. Cambricìge: Cambridge Univ Press, zooT
Aristotle. Peri Poetikës / Poetics. In Aristotle's Thcory of Poetry atd Finc Art, edited and translated
by Samuel H. Butcher, r-rtr. New York: Dover Publications, r95r (1895).
Bal, Mieke. T'avellíng Cotrccpts ùt tlte Huttaníties: A Rouglr G¿lille. Toronto: Univ of Toronto
Press, zooz.
narratology that deals with unusual narrative configurations. For Richardson, Ba|orii, Raphaël . La tensíott nat ratíve: Suspense, atriosíté, su'príse. PaIis: Seuil, zooT'
unnatural narratives force us to denaturalize and rethink basic concepts- Bootlr, Wayne C, "Tlrc Rlrctoric of Fíction ¿nd the Poetics of Fictionl' In Towotds a Poetics of
in this case, seqLrence or plot. In a chapter that can be regardecl as a reply Fí¿lio¡, ejiteclby MarliSpilka, Z5-89. Bloollingtou and Loucion: L.rcliana Univ Press, 1977.
the Brooks, Peter. Reading fu the PIot: Design ond Intaúiott in Narratíve. Canbridge ancl Londou:
to the unnatural narratology, Marie-Laure Ryan consiclers that, despite Harvard Univ Press, r99z (1984).
many attempts to challenge the linearity of narrative sequences, experimental
Dannenber.g, Hilary P Coincidence and Cotuttufnctunlity: PlottittgTiltte attd Spnce ítt Nartatíve
stories, such as interactive stories or video games, do not do away
with the Flcflon. Lir.rcoln and London: Univ of Nebraska Press, zoo8.
"plot. In The Routledge E,cyclopedia of Nnrrative Theory, editedby David Herman, Man-
fred fahn, ar.rd Marie Laure Ryan, 435-37, London: Rorúledge, zoo5,
-.
Eco, Umberto. 71rc RoIe of the Readar: Exploratiorrs itt the Seniotics of Texts, Bloomington: Indi-
ana Univ Press, 1979.
Fludernik, Monika. Towartls n'Naturnl' Narrntology' London: Routledge, t99ó.
of narrative sequence remains a contested issue' Forster, Edwald M. Aspccts of the Notel New York: Harcourt, Brace, t9z7
I Herman, Davicl. "Scripts, Sequences, and Stories: Elements of a Postclassical Narratology." PMIA
Thestudiesgatheredhereillustratethemanycriticalandcomplexissues r12, no. 5 b997): to46-59.
well as
surrounding the age-old concepts of narrative sequence and plot as Storyt Logic: Problents ond Possibilíties of Narratile. Lincoln: Univ of Neblaska Press, zooz.

Kafalenos, Emur¿. "Editor''s colurnnl' special issue. "contet.tlporary NalratologyJ' Narrative 9


-. (zoor): n3-r4.
Knkkonen, Karin. "Plotl' In The Livirrg Hnndbook of Narratology, editecl by Peter Hühn, lohn
Pier, Wolf Schmid, and Jörg Schönert. Hatrburg: Hamburg Univ', zor4 http://www.lhn uni
-hamburg.de/article/plot.
Meister, Jan Christoph. "Narra[ologyJ' h't Hondbook of Natrntology, editecl by Peter Hühn, John
Pier, Wolf Schrnid, and lörg Schör.rert,3z9-5o. Berlin and Nerv York: de Gruyter, zoog'
plrelan, James. Rending People, Readitrg Plots: Charactet, Progressiotr, and tlrc lnterpretatíon of
Núrative. Chicago: Univ of Chicago Pless, r989.
propp, Vladimir. Morphology oJ the Folktale. Translated by Lanrence Scott. Austin: Texas Univ.
Press, r968.
Ricceur, Paul.Tine antlNarr¡tíve. Translatecl by Kathleen Mclaughlin and David Pellauer. Chi-
dynamic evolution of narrative theory.
cago: Univ. ofChicago Press, 1984 (1983).
we hope that these contributions, emanating from some of the most influ- Shen, Dar.r. "Implied Author, Autholial Audiences, and Context: Form and History in Neo-
ential scholars in the field ofnarrative studies, offer further insight into
devel-
Alistotelian Rhetolical Theoly]' Nnrrative 21, no 2 (zor3): r4o 58.
opments in contemporary narratology, and, in particular, into the
study of Sternber.g, Meir. Expositional Modes ard Tenrpornl Ortlcritry in Fictiott. Bloomington ancl India-
of their semiotic manifestations, forms, napolis: Incliana Univ Press, r978.
narrative sequences in all the diversity
"ftsç6¡ceptualizing Narratology: Arguments for a Functionalist ancl Constructivist
and functions.3 Approach to Narrative." Errtltynrcttttt 4 (zorr): 35-5o.
-.
Tornachevsk¡ Boris. "Thematics" (1925). In R¿rsslnr Fonnalist Ct itícisn: Four Essays.'franslated
3. The ideas k were based with at introductior.r by Lee'f. Lemon ancl Marion J. Reis, 61 98. Lincoln: Univ. of Nebraska
International Cott ogical Networ Press, r965
in Fribourg in Ma M¿rine Borel
tance with the in his eclitorial
narrative theory rvere essentials in the elaboration of the volume'
--
ï

CONTRIBUTORS

Ilaphaël Baroni (r'apl'rael.L¡arorioruril.ch) is 1ìl) associirte Lrrolessol at tìre University of


Latrsanrrc. llis publicatiorìs oll rìarrirti\/c theory inclucìe [,tt lcttsit¡tL tttrr,úit,¿ (zoo7),
Lbutvrc Llu tcnrps (zoo9), ard Lcs rorntgcs dc I'húrigrc (f<utbcorning). IIe has coccl
ited sever'¡l volurncs, inclr,rding Lcs lriÍitrcatitnts lu récit itÍcrnctif: Cotrtitrtriti orL rup
lrrrci (Cahicls cle Narrltokrgic n" 27, zo4),lcs prrsslor.s ctt litcrottn¿: I)c ltt tlúoric à
I'urccigrtcrtrcttt (llludes de l.ettres n" 295, zor4), llcttcotth'c dc tnrrotivitts: Pt:rspcctivcs
tu'l'irrttigtLc lntrsicLtlc (Crhiers de Ntrrratologie no zr, zou), urcl l¿ S¡lvoi-r/csgcrrrc-s
(PUlì, uooZ). lJirrori has publisìred rrirny ar:ticles in journrls such iìs.PoJllqrL¿, LilLé-
rottrc, Scntiotictt, Scntiotic hulttit'y, ancl llrrcgc ¿- Nnrr¿tittc. Ìn zoro, he lt¡r.rnclecì, with
Flarnçoise Rcv¿rz, thc Nallatology Nctwork oi Fre nch Speakirg Srvitz.elland (iìRN).
I
Alain tsoillat (alain.boillatgrLrnil.ch) is profcssol at the Dcpirrtmerrt of Ilistory and Aes
thetics of Cinem¿r at tl-re Univelsity oILltLslnne. His rcsc¿rrch lcl¿rtcs, irr palticulrr,
to the histoly of scli¡rtwriLing practiccs, to the study of tcchnological irnirginrlics,
to the relalionship þghvgs¡ cor.nics rrnd movies, ¿rs rvell as to issues concelning narlla-
tivc anrl hction in meclia plocluc[iors. IIe ìras lecenlìy publislied Cittónt¿: MttclLint: t\
tL()thlcs (Georg, zot4), Star Wnrs: Utt ntotttl¿ ut cxp(utsion (Maison dAilleLrrs, zor4),
¿rnd wirs coeditor t>i DtL[tbùLg: ].d trrtductit¡tt nttlit¡r,istLcllc (Schüren, zor4), l3D-US:
Lcs ct¡tttics ctt Errropc (Infolio, zol.l), Lt¡in dcs 1,¿11a . . . lc cittéttLa (I.Âge cl'Honnre,
zor5), arrd DidogrLcs ttrcc l¿ chúnkt: Approclrcs itÍcrdist:iltlitutircs dc I'tn'iilitó cin¿ìtt(t-
togrlpl ù t1t tt (Notir bcne, zor5).

Peter Hühn (l'ruehrr@uni-hamburg.clc) is plofcssol of English l,itelature irt Llambulg


University (retiled since zoo5). His mrrin fìelcls of intclest ale British poctly, thcor:1,
olpoetrl', nu'r'älolog¡ aprplication of:narlartology to poetry antrlysis, detcctivc lìctit¡r,
arrd syster.ns theory. He is lhe ¿ruthor of EvettLjirhtt:ss itt I3ritislt ltictitnt þ.oto) and 77¡c
Nuratolttgical AtnLysis of Lyric Poctry: Studits itr EtLglislt Poctry jrortt tlrc ñtlt to tlrc
zotlt CuúLry (witli J. l(ieîer, 2oo5). He is also editor-in-chief ¿urrl coruthor of ?7r¿
l-lntrlbot¡k ttf Nor núoktgy (with l. C. Meister', l. Pie¡ ancl \M Schmirì, zncì crl. zor4).

Ernrrra Kafalenos (erìrkrfalec¡wustl.eclu) is the author <¡f N¡rttttiv¿ Cttrnlitics (zoo7);


w¿rs the gr-rest eclitor of N¡rratit,c 9, rìo. 2 (zoor), a special issne t¡n Contcntl¡or¡tr)t
Nnrrúttlogy and has publishecl llulllcrous rrticles in jor.rlnals ancl erlitecl collections.
She is Ilonor¿rly Scnior Lcclulel in Cornpalative Litcr'¿rturc at lVushingtor Univer-
sity in St. Louis, Missotn i.

219
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ï
2ao CON'I'IìIT] U'f ORS CONTRIBUTORS 221

Franco Passalacqua (fr.passa@grnail.com) is a PhD candidate at the Department of Narrativity (with f. A. García Landa, zoo8), Narratologies corrtutrporaitrcs (with
Human Sciences for Eclucation "Riccaldo Massa" of the University of Milano- F, Berthelot, zoto), Lbfacenrcnt selott Nnbokov: Lolita versus The Original of l,aura
Bicocca ancl lecturer in the didactic in literature and Italian literature at the sarne (with A. Gassir.r, zor4), and Handl:ook Narratology (with P Hühn, J. C. Meister,
oJ
universit¡ He is the authol' of several scholarly joumal articles on narrative the- and VI Schnrid, rst ed. zoog; znd ec1. zor4), also available online as Tlrc Lfuittg lJatd-
ory ancl narrative teaching and translator of Meir Sternbergt works into ltalian. His book of Narratology.
current research is focused on narrative learning and teaching ir-r a school context,
both exploring the role of narrative competence in lealning development and the Gerald Prince (gprince@babel.ling.upenn.edu) is professor' of Rornance languages,
epistemological grounding of narrative teaching strategies ¿ncl methodologies. He is associate faculty at the Annenberg Scl-rool of Courmunication, ancl a member of
coordinatol of didactic projects, frnanced by an Italian private foundation centered the graduate groups in linguistics and in comparative literature at the University
on literaly teaching ancl learning in primary and secondary schools. of Pennsylvania. The author of several books (including Métaphysitltte et tecluùquc
datß l'æuvr¿ rotltancsquc tlc Snrtrc; A Crattutnr of Storics; Norratology: Tltc Fornt ntul
fames Phelan (phelan.r6osu.edu) is Distinguished University Professor of English at The Fturctiortirtg of Narrative; A Dictionary of Narratology; Nerrative as Tltente; Guide du
Ohio State University ancl a foulrdir-rg member of Project Narrative. He is the editor rottatt de larrgue frartçaise: ryot-t95o) and many articles and reviews in the fìelds
ol Narrative and the coeditor (with Peter l. Rabinowitz) of The Ohio State Univer- of (narrative) theory ancl of nodern (Flench) literature, Prince is a member of the
sity Press Series on the Theoly and Interpletation ofNarrative. He is the author or editorial or advisory boarci of over a clozen scholally joulnals (including Diacritics,
coatrthor of six books on narrative theor¡ the most recent of which are Livirtg to Philosophy and Literature, Narrotive, Style, The Fretrch ll.eview, Frenclt Fortnn, and
Tcll about It (zoo), Experiettcirtg Fiction (zoo7), and (with Davicl Herman, Peter j. Studies in Twentieth and Twenty-First Cetúury Literahre) and is the general editor of
Rabinowitz, Brian Richaldson, and Robyn Warhol) Practicirtg Narratfue 'Iheory: the Stages selies lor the University of Nebraska Press. He is wolking on the second
Four Pcrspectittes ùt Conyersaflorr (turder review). Phelan is also editor or coeditor volume ofhis guide to the twentieth-century novel in French (r95r-zooo). ln zor3,
of numerous books in narlative theor'¡ the most recent of which ale the Blackwell he received the ISSN Wayne C. Booth Lifetime Achievement Awarcl.
Contpauion to Narrntivc Tlæory (zoo5), loscph Corrad (with Jakob Lothe ancl feremy
Hawthorn, zooS), and Teaclútrg Narrativc Tlrcory (wiTb David Herman and Brian Françoise Revaz (francoise.revaz@unifr.ch) is professor of Frencl-r linguistics at the
McHale, zoro). He is currently working on a study of the twentieth-century Ameri- University of Friboulg. She has published in collaboration with lean-Michel Aclarn
can novel for Blackwell's Reading the Novel series, Lanalyse des récits (r99ó), and as single-author of Les textes dhction (t997) and Intro-
dttctiott à la rnrratologie: Action et narratiott (zooq). In zoro, she founcled, with
Federico Pianzola (lpianzola@gmail.corn) is postdoctoral research fellow at the Raphaël Baroni, the Narratology Network of French Speaking Switzerland (RRN).
Departn'rent of Fhunan Sciences for Education "Riccardo Massa' of the University She is currently working on action theory applied to narratology and on the func-
of Milano-Bicocca. He has an intemational PhD in Italian literature awarcled in :or4 tions and forms of narratives in cliflerent genles and media (journalism, historiog-
by the University of Florence, the Université Paris-So;:bonne, and the Rheinische raph¡ literature, and publicity). She is directol of a pr<-rject financed by the Swiss
Friedrich-Wilhelms-Ur-riversität Bonn, aiso having ¿r co tutelle arrangement with the National Science Foundation, entitled "Le clécoupage de l'action: Analyse narra-
University of Cambriclge. He completed a dissertation on aspects of n'ryth and fiction tologique de périodiques de bandes dessinées Gg+6-tgsg)l'
in the work of the Holocaust survivor'-wliter and scientist Prirno Levi (in press).
He is the author of several scholarly joulnal articles, intelviews, and translations Brian Richardson (richb@umd.edu) is a professor in the Englisl-r departn'rent of the
olì contemporary Italian literature and on narrative theory, and editor-in-chief of University of lvlaryland, where he teaches modern literature and nan'ative theor:y.
Erttlrynrcnn, an international academic journal of theor¡ critics, and philosophy of He is the autl-ror of Urrlikely Stories: Causality atd the Natttre of Modcru Narrative
literature. (1997), Uuntural Voices: Extrettrc Norratiott in Modertt attd Contetttporary Fictiort
(zoo6), Narrative Theory: Core Corcepts and Critical Dcbatcs (with David l{erman,
fohn Pier (j.pier@wanadoo.fr) is Irrofessor Ëmeritus of English ¿rt the University of Tonls james Plrelan, Petel Rabinowitz, and Robyn Warhol, zotz), and Utnntural Narra-
and a r¡ember of the Centre de recherche sur les arts et le langage (CNIì.S-EHESS) tives: '[hcory, History, attd Proctice (zors). Richardson has eclited six collections of
in Paris, where he codi;:ects the serninar' "Rechelches en narratologie contempo- essays on nal'rative theor¡ including the anthologies, Narrative Dytnntics: Esstys ort
rainel' Cofcrunder of the European Narratology Network (ENN) and past president Thtrc, Plot, Closurc, attd Franrcs (zooz), Narrntit,e Regirurirrgs: 'l7rcories and Practiccs
of the ENN Steeling Coml-r'rittee, his numerous articles on nalrative theory and (zoo8), and A Poetícs of Utmatural Narrøtivcs (coedited with Jan Alber ancl Henrik
literary semiotics have appeared in publications in France and abroad. FIe is also Skov Nielsen, zor3).
coeclitor of the book series Narratologia at De Gluyter ancl selves on the eclitorial
board of a nurnber of journals. Among the volurnes he has eclited or coedited are ftc Marie-Laure Ryan (marilaursrgmail.com) is an irrdependent scholar. She is the author
Dytnttics of Narrattue Forrn (zoo4), La rútalepse, atjoud'luû (with J. M. Schaef- of Possible Worlds, ArtiJìcial Lúelligencc attd Nanativc Tlrcory Ossr), Nnrrative os
fer', zoo5), Tlúorie du rócit: Lhpport dc la rcclrcrclrc allutnttdc (zoo7), Thcorizirtg Virtual Reality: htune rsiott and húcractivity itt Lite t aturc attd Ele ctrotúc Me dia (zoot),
rtltttttattrrttlrttrttttttttrrf ttrrf tttttrt
--
a
222 C()N',l',tìIlìU',t ()lts

aÌl(ì oJ Stttry (zoo6). Shc h¿rs ¿rlso edited Cy¿,c,.9rtcc'l'cs.tttdl'Lty: Crtt¡tptLtcr INDEX
'[bclunlogt,
^v.?/rrl-sntrrl I.itctdry'llrcory (999), Nûrrùlit,(: dcross N[ci¡a:'11rc Lattgttrtgcs o_l StLt-
rvtcllitry (zoo4), arcl coctliLecl the Rorrf/crlgc EttcycloludiLt o.f Ndrratitc (rvith David
Ilcrrn¿rrr antì M¿ntì'ctl fahn, zoo5), [ticrntcditiliLl, tutd Storytcllittg (rvitlr Marina
Glislr¿rkov¿, zoro), the lolnts Hopkh.s GuíLlc to Digitol NIcilid (with Lori llrlcrso¡
rrncl llcnjirnrin lùrbertson, zor4) arrtl Storyworlds (icrÒss MciliLT (with far-r-Noël Tlrr,
:or4). I{er scholally wot'k has earnecl hel the Plizc fol Indepenclcnt Schol¿rrs aucl the
Jeautrc irud Aldo Scaglionc Pliz.e lol Conpzrlzrtivc l,iterlture, both fiorl the Moclclrr
T,anguagc Associalion, and she h¿is bcen thc lccipient ol Gr-rggcnì'reirr and NE,A fol
lor,vships. Hel Web sitc is ¿rt l-rt tp ://users.lrii.coru/ tr-rlryan/

Eyal Scgal (eyirlsega@¡rost.tirLr.ac.il) is ¿r rcscirrch lellow irr thc Porter lnstitutc for Poetics INDEX OF AUTHORS C.rnoll, NoöI, 92n, ro2
ancl Senriotics, Tcl Aviv Ulivelsìty. Flc is the author of 'llrc Prol¡lun oJ Nurúivc C¡stillo, Ant, ryt, t74
Aitrscth, lÌspen, r74 Clh¿rtnuu.r, ScyrìloLLr', 164
ClostLrc:,lIr¡¡, Slorics ,'tr-c ('Mr¡|) Fittislt¿Ll (zoo7 in Lleblcw) anc'l 77¡c Dccisivc Mtntrcnl
Abbott, ll. Porte L, z Cher¡¿rrLin, Pierrc, rrrr.r
is Jlvcrlostirrg: St¿tic 'l-it¡tc itt IidJl;a\ Poctlcs (zoott, in Flebrcw). llis ¿rticles ancl
Abclso¡, lìobcrL P., rrTn Ch r ister.r, 'lhornirs, {ìzu
botrk chaptcls irppe at'ecl \¡ Ants|¿rLlLutt Itúcnuúiotntl ]ilcctrotúc lotLnttl .lór Culhtr¡l
Adrirrr, Jcan IVlicbc[, rz, 2r aa,24,2lJ-3r, Z]n Cliv¡2, Clairc,9Z 9u, ro2
Narrntolttgv, Poctics Todoy, Cttrraú Trctuls itt Norrûtology (cditccì by Cìreta Olson, Âlbcr', larr, ry7 98,213 Coor.er, Robelt, 122, r87 u8
zott),'llteoraticcl Sc/rool-s ntul Circlcs ilt lh¿ 'l\ycttlictlL Cctttttry Hlrirnllllcs (crlitecl Aristotlc, 1 2,5, 13,2.o, 1,+ 26,2t1-3o,31.,71, Crozìer,I)rrniel, r4z
by Mirlina Crishakov¿, zor5), ancl ForLl M¿tlox I]ortJ's "71rc Good SttlLlicr": Cctttctttry 14(r, 1{ll
E-s.sr¡rs (s¡{¡1s.1 by Max Siìì.ulclel's antl Sara Haslam, zor5). AubeL L, Micl'rellc, rz¡ L)annenberg, I Iilary P, r-2, 4, 5jn, tl7u,
89-9o,9(t
Mich¡el Toolan (rn.toolarrqfbhirm.irc.ult) ìs profèssor of English languirgc in tìre l)eptrlt- B¡rl<hLin, Mikh¿il, 21, 2911, .tJ, Ì8o Dcr r itla, Jtrcqr.res, r83
nrent of English l.anguagc ancl Apprlig¡l l,inguistics at the U¡iversiLy of Lìirmitrgharu. Tlal, Mieke, 6\ 16+,214 2rs I)ijh (v.rn), ltnn t\., r7n
Balì¿rd, I. G., 166 l)olci.cl, l,ubornír, 76,94, 153
I lis sirglc-authorecl bool<s inclucle 7¡c S/_1llsllcs o.[ Fictiotr ( r988), Tbtrrl
Qrccc/r (r99ri), Ilarad, luclith, ttrl l)ul:rc, Nicolas, rnn
LdtrgtLrtgc in Lit¿rûtlrrc (r998), Niurrrfllc (znd ct1. zoor), ¡nd N¡rrotiyc Pr-ogl.sslorr
Iìrroni, Iläphaë1, f,, 5, 13J 221, 2911, 46r'ì, 53r.r, l)upont lìoc, lì.oselyrc, 3:r
itt llrc Sltttrt Slory: A Corpus Stylistic Approùclr (zoo9). LIis ncw booì<, Mrilrllrg Scrr-sc
9ur, 9tl, r()2, t27t1,145-46, r54n, r(r3, 1113,
u,illt N¿rr¿tivc Tc':rl shotLld ap¡ear in zor5 Fle has erlitccl scver¿rl collccLions, inclucl r96, r99, 2o3-4 lìco, Unrbclto, 2 3,29,31, lì7 utl, 94n, 127, r¡j2n
ing lalgrtrrgc, Tcxt ¿nd O¡¡tLtcxt: E-ssrr¡s ir Ootttaxhtttlis¿d Slly'lsllt's utd LartgtLirgc [ìarlhcs, lìo]ancì, ¡, 13, t7,25, 146-47,166, ììggers,l)lveA,r(ri1
'lttrcltirrl¡: Itrtcgrotiotntl Lhtgttistic Apprtnrclrcs (zoo9). Sincc zooz, he has bcen etliLor r76 ¡ì4, rtl6, r9o, r92 llisensLein, Ser gucï Mikblilovich, rn
of the JotLnLd of Lilcrary SLlttuuúics L3eckctL, Sarrucl,4t 42,4,L 46 llisner, Will, roTn
ììcll, Alice, r9o lÌscola, Mirrc, ror
Billington, Alex, Ttlrr
Blircli, fohn ß., u7n ìrludcrrili, lVlkrniìiir, :, r rLr, r97-99, zoll-9
Blirncìrot, Manrice, r llorr lìocr, lonathiur Salr irn, r7r
ìÌoillat, Alain, 5, ro8 lìoLcsLicr (lc), Lirulcnt, rnn
lìoltcr, Jay David, r83 lì-olsier, Edrvrrrd M., z, u 5, 3..¡
Iìootìr, Wayne C., 5 Fouciull, Michcl, rll¡
13ousrluct, Hcnli, rr3n ìrorvìes, Jcrhn, 84, 171, 175
lìorvet', (ìolcLon H, rrTn Fr irnli, loseph, r 8r
Braclbury, Malcolm, r73 Frirz.er, John, r r3n
-flror.nirs
Breclehofl, A, r7o
ßrenrond, ClirtLtlc, rz, rZ,29, tl{1,96 GcnctLc, Cúr'rld, rr, ao,z6t,73.-74, Z(irì, r99n
Wìllìarr, 9¡
Tìrer'r,er, (ìcnnep (vln), Alnoltl, 3t1n
Iìrookcr, Will, lJzn Gcrl.rordic, \{ilìiarn, .1rn
ìlrool<s, I)eLer, z-3, 8lì GerLig, llicharrl, 91 92, ro2
llLuner, Icronre, tll Glaselielel (vorr), Lìr'nst, r9l3n
L3ukatnrarr, Scrrtt, llrn Gorrnarn, Siobhtrl, r5zr.r
(ìr einrrrs, ,{lgir das ltLlien, r3
Curclel llon.r.r¡n, L)rniel, 94 Cìniclo, LiurreLrt, rr r n
C¿rncr.¡rirlicr', oìr n, rrTn
.f
(ìurrning, -fonr, rr r-r3

223
224 INDEX
]NI]EX

Halliwell, Stephen, r35 Mortimer', Alrnine Kotin, r7o-7r


Saporta, Marc, 169, r8z antichronological, r64-r65
Hansen, Pet Krogh, 164 Moulthlop, Stuart, r83 84, 19o
Scl.rank, Roger C., rtTn anticipation (scc clso
Heidegge¡ Martin, r8o Murray, Barbara 4., 78r.r prospcction), 41, 44,89,
Schmid, Wolf,:8 118, 128
Herman, Davið,, z-4, rrn, 89, 196 Murra¡ Joddy, r4rn Schmidt, Henr.y Ì., 77n ,83n authorial audience,
Higgins, George V, ó9 Musser, Charles, rr3n 5, 56
Seaton, Douglas, r44 atrthorial clisclosure, 5, 51-54, 57,59 .6c.,
Hogan, Patrick Colm, r57n
Sega[, Ëyal, 2, j,741.r, r74, zo2r') 62-67,69
Horn, Iìichald, ró8 Nahìn, Paul J., r8r Seguin, Jean-Claude, nzn
Hühn, Pete¡ 2, 4,37,39, 4:rrr, g4n, :q;z, r99 2o3 NaremoLe, James, 76n
Shanahan, T'imoth¡ 8r 8z catharsis (sec nlso pathos), 5, r3,
Hutcheon, Linda, r35 Nattiez, lean-Jacqì-les, r41, 144 97
Sher.r, Dan, 5 causality, 33, 12o, 138, 153, 155, t5Zn, 159-6o,
Hutcheon, Michael, r¡s Neubauer, fohn, r48
Shklovsky, Victor, 53 r8o-8r
Nùnning, Ansgar, trn, tg7t1, zt2n
Smolderen, Thierry, rr6-u7 cl¿ssical nar:.atolog¡ rt, t7, 1o7,7g7, ar1r1
Iser, Wolfgang, 4on Nünlir.rg, Vela, rrn
Spelber, I)an, r4n cornic stlip, ro7 9, 116,122-23,128
Steclman, Kyle D., r4z r43 complexit¡ 1,3,14,
)aclcson, Shelley, r83 84, rlo Oatley, Kcith, r8o 47, 96,176
Sternberg, Mei¡ z-5, 12,22-27,32, S3r,7t-72, cornplication,
Jahn, Manfred, zro O'Hara, John, 52-53, 57, 62-69 4, z8-29,55_56, 58, 60, 88,
94,
83, 88-89, 113, rzo, t4:),155, 188u, 196,
lames, Henr¡ 4r, 44 46 Otr, Eirik R., 166
99-ro1,121-25
198..199, zo4-5, zo7 9, 21t-12, 214-r5 confìguration,2 4,6,15,20,
fameson, Freclric, r8r Ovid, 4z 30_31, ó6, g9_9o,
lohansen, lorgen Dines, 3r r9o, 206
Tarasti, Eero, r48 constructivisrl, r9¿ zo9
lordan, Enoch P, 77n Passalacqua, Franco, 3, 6, 9on, 208n
Todorov, Tzvetan, 12, 27, 89n, 152-53 constructivist, 3, 6, t95-96, r9g, zo5,
Joyce, James, 39,4r-42 Patron, Sylvie, 5zn, r98 'fomachevsky, Bolis, r, t3, z8n zo7_15
context, 4, 14, 16-18, 24, ß,
loyce, Michael, 184, 186, 19o Pavel, Thomas, 88n :,B-4c', 4:., 45- 46,
Toolarr, Mich¿el, 5, 91, 2o4 r35,153_54,1g6n, 2oo, 2ou-12
Pavió, Milolacl, 16ó, 169 51, 83, 112,
'lboley, Michael, r8o
Kafalenos, Emma, 3, 5, 12, 53n, 90 contilìgency, 101, 144
Peirce, Charles Sanders, 4, 22, 31-32
lbrgovnick, Marianna, 74 conversational disclosur.e, óz_67
l(ahn, Challes FI., zo6n Phelan, fan,es, 2,5, rz,22n,8Z-88, 1o1n, 145,
Ttrrnqvist, F,gil, 77 curiosit¡ 22-24,28,34,72,82, g9,
Kerman, Judith 8., 79 163, zo4 92, 113, 145,
Turner', TÞrrence J., rrTn 188, 2o8
Kindt,'Ior¡, tqz Pianzola, Federico, 3, 6, 9on, :¡2, t47,2ogl,
Tyrkkö, lukl<a, ró8
Kirkpatlick, Eavicl D., 158-59 211n, 213n
Knight, Deborah, 8rn derrouement (sce olso r.esolution), zg 29,
Pier, lohn, 4. 6n, 22-zj, 26, 3trr, 33, 7211, grn, 9o,
Updike, lohn, 166 tt3, tzz, tz8
Kukkonen, Kalin, z 198n, zo3, 2o5
disclosure, 5, 51-55, 57, 59_60, 62 .67, 69,
Plato, 33 72,
Vaina, Lucia, 88n t46, t67
Labov, William, 11, 13, 15, zgn,38, \z Pratt, Mary Louise, 38
Vickers, Briän, r4rn disnarlated, 92,95-97
Lallot, Jean, 3zn Prieto-Pablos, José, 93
Villeneuve, lohanne, 9o clisnarration, 11, 57, 60,9ó, 9g, roo_roz
Lamarque, Peter, r97 Plince, Gerald, z, 4,1rr7, zo,26, z8n, 5y 53t-t,
Lanclow, Geolge, r83 dyrrarrics, 3-4, 22, 29, 5)_q, 65, 67, 69,
7 2, 92, 95-96, 152, r97 -98, zo7 72_73,
Waletzky, loshua, r5, z9n 77,79, Bzn,87_89, 91,
Lrnger, Susanne I(., r4rn Propp, Vladinrir, 3, t2-r3,25,88, 90, 96, r45, 94,97,4' r8r, 2o4,
Walton, Kenclal, 91-gz, 1o2 2o8,2r1
Lalivaille, Paul, rz, z8 153
Waldrip-Fruin, Noah, r83n
Lemco, Gar¡ r34 Pr-rllinger, I(ate, r9r
Warbol, Robyn R., 4o embeclded narrative, 96-97, roo
Lotrnan, Yuli, 38-4o, zozn
War:ner, Rebecca, 8l.r elrpath¡ 8o, 93
Rabinorvitz, Petet' /., 54, 7st-r,1¡t, t57r.)
Wilson, Deirdre, r4n enplotnent, z,2911-31
Marcher, John, 44-46 Revaz, Fr ançoise, 5, 12, 124n, 154tj
Wolf, Wen.re¡ r4t evenfftrlness, 4,37- 4c,42, 44,
Maresca, Peter, togn Iìichardson, Brian, 6, rz, 53n, 84n, ry3, ry7,2o4 46- 47,94n,
Wolff, Tobias, 5r, 53,55, 57-61 199-202r')
Malgolirr, Urt, zo6, zt7-t4 Rickrlal, Laurce, tr3n
Marsden, fean L, 78r Ricoeur', Paul, z, 3o-3r
Yacobi,'Iamar, zoTn
McCay, Winsor, 108-9, 111-19, tz3-24, tz6 Rimrnor.r-Itenalt, Shlornith, t5z, ró7 fabula (see also sjuzlLet), \ 3_5,13,22,25,
Yanal, Robet't, 9r-92
McClaly, Susan, r47 48 Roba, fean, rzr fi_54, 60,89, 9o, 92, 96,1o2,155_57, tsg,
Mcl{night, George, 8rn t64-165, 167_70, r72, t74, rgÌ,2o3,2C,6
Rosenberg, Edgar,77n
McLavert¡ Belnarcl, 45n fear'(scc nlso pathos), 1, 13, 15,
Rousset, lean, rSrn 59, ó9, 93
Meelberg, Vincent, r4o 4r
INDEX OF CONCEPTS fictiotr, ¡8, 4t-42,
\au, Marie Laure, z, 6, tz,9r-94, 96-98, \oz, 94-96, ìoo, 135,
t44, t55 56,162'zn,88,
Meister, frin Christoph, 5 193n, r89
133, 135-38, r48, 163, 188, 19o,199,214 abductìor.r 3, 3z-33
Minl<, Louis O.,3t 3z fornalism, 3, 88, 91, t9Z
aclaptation, 75,78t'r, 82, t43n folmalist, z-+ 13,2c,8Z-88, 90,
Montforl, Nick, r83n Sadoul, Georges, rr3r.r 141, 156. 2r2l]
aflèct, (the), r5-r6
Morgan, Harry, ro9 Sarnmolr, Paul M., 78-79, Bzn
alternative (the), 5, 32, 9r-roz hypertext, r7o, 171, rÌ2-9r
IN DìiX

1' tI llO l{Y AN l) IN TEIìP l{ì i'l'.¡\'l' t O N O ì, NA RlìA't' I V E


inrpliccl ruthor, 5, 5-3 5ô, 62, 2o4 Irrogression,4- 5j 12r,53--5t1, 6o 63,62 8lì-q¡, lltncs T)helirr, l)ctcr'1. llirbinou'i17., iìnd lìobyn Warhol, Scrics ìtclitols
intcrprcl¿ìlion, 15. r6, ]9,42,46, ut u2, 9(], rr4, r-t3, Ì44-45, 147 48,165, 169, rtt3, ìUZ

t rol, r34, t4lì, t53, r55 60, r79, 184, t¡.16,


ìnLer sccluenLial
2611,29r,34,73
/ iu{cr scquenliality 4, 2l r4,
188
pt
Ìgo-gr,2(),+
rt¡rosìtionaJ iìurbiguit)/, r52 t53
¡rrrrslrccIior.r (.srr ,r/.so anticipütior), )2, 14,72
lìcclusc LLrc scrjcs c(litors bclieve lhaL tlre nrosL sìgnilìc¡nt uorh il nar rirLive stutlics totlay contr itr-
utcs both 1o our lirtorvlctlgc of'spcciÍìc narrltives artrl lrl onr lLncLcrstancling oi r¡irlr.rtivc in gener.rl,
strtclies in tlle scriùs typicalty ollìr intcrpreLirtions oljnciiviclu¿l nlrr¿tjvcs irttl ircÌlLcss sìgnlfìcart
ProtoL)¡l)c / prototl;pical 4, 21 )).,24, 2u 39, theolctic¡l issucs urttletlying thosc intcrprcliìtiolrs 'lllc scLjes tlocs not prlvilcge onc critìcirl ¡rcr'
litrcarìt1,, ó, 16l (j5, rZ6, 2r4 jo, 33-14, 39, r.03
specLivc buI is opù]1 lo worl( 1ìoltl ân)/ stro¡g thcorctical ¡rosititlt,

rl¿rtcrj¿l booì<, r7o 7 r reittletly tlynirntics 55-57, 59 6t, tt5, 67, 69,
Drirtrir,4 5,89 9r), tot,151, r5l 54,156 6(), 2.Ù4 N¡ r r¡ I it,r' Scr¡rr,lrcLr it t Cttt tlctttl¡ oi t t ry A Porr/ics o.l Lltntrrttrntl Nttrnúivc
lb9 rr,coflrljlion, )).5t)j7), |1.1, r1.1, 706 Z Nrl/ / rllr)/r)(.)/ lrl)l I l) ll\ l^N lllrlì, I llìNlllli sli()\/
^t
Lrecliir, 5 6, 17,77,13t, t37 38, r.18, 177)1, Tooj repelition, 57 -58, 6r, 87, 92 93, 941\, 97, to2, lìl)lLlìl) llY l(^Pll^lìl lJ/\l(()Nl r\Nl) Nllrl \lìN, ;\Nlr lll{lÀN l{l(ìll^lìl)S()N
2t3 Ì,1 tc)8, 11711, t)7, r47 Ill^N(ì()l¡ll l{lr\//\Z
nrinresis, ¡ll, lj5-36 rcsoLution (s,'c
Nù tt ttl ¡tr .l )lsco¡l¡cr: At t ll t ors iti I J N û t I ù U)l s
1, 3t, rìcnoLtetlclt), t, r:, rll,
rr/-s,r
'1ltt: Strbnttrgctl Plot nntl llt¿ i\,[otlnt's
nrirìetic, 1tt 25,71, t-ì6, 146 4Z l¡io, itt LiLlrrhnc, ];ilttL, ¡ntl Art.
213 32,55 56, sl.ì, 60, 7.1, 29, 8rì 9(), 93 9,1,
r)rusjc¿ìl scqucnce, t46 l)l¿¡stl¿ ittntr Jatt Arlsl./r l() Arrunllnti lìtty lrvl lìl(ll. (l()l Nl I l()(ìAN
48 9Z-98, 1r8, t14 ).5,113, r45, r54-55, rô5,
t7), 174
Ktit IY ,\ ñt,\l{st I

l,i li t t t I iJì ct il o t t
r.y k I u .l t ot r Clt í t t rt t I ol I t: lù o t t I t
n¡r r.rLivc collìgur;rtion (scc n/.so con1ìglrrrr rctrospccliorl, 22, 31, 7 2 N¡u rrrllt,c '1ltt:ory ll¡flt¡1¡1¡¡¡l: ()ttctt rutrl o'l si si Drrt rytn't t nbga

I
I I
tion) ti,,tz ¡3 rhctoric / rhctoljcll, 2,, 5 6, ll, 16, 53,55, 56n l:: Lt t t t i t t i sl I t t I ¿ r v c t ¡ t it¡tt s I^tiß^ (ilìiltN
¡rirrralivc illtctcsL, 4 5,72-75, Z{ì, iì¡ 8+, ¡ìS, 7r 72,74,76, 83, iì7 lJ9, 112, ÌufJ,2o2n, lll)11 jilì lÌY lì()lì\N !Vr\Rll(Ìl SOSAN \
92,2O21] 2o1 lr\NSlìlì ^Nl) ,4 il ¡1,'.s/i ;¡'l lcs oJ' N t t ml. i t, t P () r_l t)r 1 t ù tt t ct: :
tlitlt¿tive ogl'cssjon (-s,r,t ,t/.so IIoglcssioLì),
Pl
'
Ii'¡¡ t s t ttttiott¡tl'll tüttcr, [,i I (:nilu t'c, tnttl l;ihtt
4 5, zz1\ 53, 8Zn, I 65 sclìcrÌrr, r6, 2t, 2¡.1,3o, 2o2lt U t tttLtlt tntl.N¡l l rrllt,c:'I I I ¿t)i'jt, I Ii sl t)ry, ond ìt t Co¡ttct ¡tl¡ontry C c t t t t n try
n¿ìr[.ìtjvc tension (-srr rtl-s.) tellsì()]ì), r3, trtrtì, scr:ipL, 4, r6,3u, 4t, 94, t16 t7, t20, Ì2-3-24j P r¡cIic¿ llt lll{li( i lilil
zt¡n,72,87, ¡19 92, 9Z tol, 2o3 lil{l/\N lìl(ll l^ liDS( )N ^tlì)l^
r2Z 28, r:13, 196
;rar r ittivchoocl, 1lJ, l8n, l4<l N ù r il I iv ¿' I or : ( )o r¿ (,-¡rr ¿c¿/rl-s d Ct tt I
scriptit)lc, V6 77, t9o I t L: \t t tt t it ìc

n¡nittivcncss, lttlLics ¡ntl lltc l)yn¡tni¡ Olrsci ll N¡¡l r ¡rlor : l)clrrllc.s


rlJ setlncntìal / sequcntilltt¡ 1 l, 4 .5, 12, 2t-z5j
r¿tur ¿l llcc/to¡rilv \4tilll l)ùsl ttlt(l PrcsùÌt in (ìct nttnt l)^\/llr I llllìVL^N, )r\,Nllì\ l,ltlrf /\Nt) l)ll I lìll
nrL r¿LOlr)gy, 6, 2r3 2E, 37, 71, oZ Ìo9, I t6 t7, tz<t, tzz, tz6,
I

Lil¿t rILIti t ^N
rÌcL\'vorl(,:r,r, ro7, r5111, t74, t78 87,189 92, f,to r:tl, rjr, tj3, 167, zo5 J l{,\lllN( rU/l I Z, lJlì1,\}t lìt(.t t^tìt)S0N, /\N t)
rì(fn c\¡cnl, 4, 39-42, 44 47j ).oo ).o3 .rlrr:/rrl (sce also,/irl,rrlrr), r f,, z2j 53 55, r55 57, hÀ l l(,\ r\ llYlìÂi\f ItoBl N \v,\ [] t( )r

163-24, Ì9¡1, zo3 4, 206 Nr¿t rrlirt PnllLs: r\Ji icltt '[i'twtl itt Morlu u Aliu'' lL s L i n ttt t r¡t :' I I t ¿ li l l t it s ru tr l t\ t st l n: t i c s o.l
lr¡th, ¡, 54, 90 9r, 96 ()7, tot, t)), n6, t74, stl uctur ¿ìlislì.t, 23, 32, l[]1, l9Z 21r l¡¡louutsl Ntl nttíyc lot Lltc ]\tlttt t:
[ì i t:l i t¡ t t tt t tr I Nor tJ ìt1.i ot t I
llJ2, rlJ6, 1t19, t95 sLrrtctrrralisl, 2 -L34,87 8¡1, tglilt r9Z:12 liA l i\'l ili K( )NìrN lil)l l l:D lìT lr\ñt)ll I t) l l Llr. S(lsr\N lltJlìlN
pathos (scd ¿/s,, lc¡L; pity), 9u, 99-loo, roz, llisc, 15, i u, 22 2.+, 2u, 33, 46, 56, 6r,
sr.LL
72 7), \tJl lrlñlr\N, l/\ÀllrS t)Jllìl r\N
2()3 uo, ¡ì2,84, lll, t:f,tì, t45 46, r54, l¡J8, r9r,
'
I I t ¿ ll¿tt,l¿¡ t s Pccp r itt g Titt t t : Not t t cL:í pt oca I ^Nl)
pìty (.scc rtlsrr patìros), 4, 15,77 zoztt,:O8 ()rtzittg in Ndrnttil,t) lt¡cliott ttntl I:il¡)r 'llrc \¡il¡lit)t o.l'Allt:gor¡,: Itigrrntl Ntt tLttittc itt
plot, r-6, ß,22,14 25,30 3t,3lì,4rn,42,45;t, suspensc,5, t5, tll,22 26,21ì,33 34,7) 73, jlìll.iìNl\ I l/\\V I I t( )l{N iú tt tl cr t t ¡u t rl ( ) t t t tu t r I r p ()t ù r.y Iì i.t i() 1 t

56,73,75,79, tìr, 8Z 9r,93 94, 97 ()8,


29, 84, 89, 9t 95,97,911, toÌn, r02, 1oZ (ì/\l{\'l()llNS()N
l2o, r2r,1tlJ, t33, 144 4(i, t65, tl.Jl, tll3, r13, r Lll, 12o, tz)., tz7, t3j,143, t.+5-46, 1(ì.1,
'
I I to tt t rrs 11 rr t rly's lì tl r.s; /þi/rtr/ogy,
r

1g1 92, 2O-3, 206 ril¡J,2C)2ll,20ll N¿l ii-t¡ltl! ),, n t t d LI r t n llis It t t rt gi t t rtli rt t r N tt t r( tI i tl c l\,1í t LLI I t: s : N t t 1t i gt t t. i t I
{ n I I

ploL dytrâDjcs, 55 56, 59 6o, 63,79, zo4 StlZ,\NNlì lilllrN N it t.lt¿ t u)) Brili \l t N ov L'l
tl I Ì- ( )L:t t I t

plur;ìl le\t, t78-179, rtit, tlì1, t9l lrt)l I lit) lil (1,\R()l,lNll I liVlNlr ùl^l{t(r
tcllability, r8, :l,Zrì, 40, t¡6, zot 'lltc lltttt¡ l ^Nl)
47, o.l lltt: Onnisciutt Nun ¡lor: ()ltllZ ll.Olìllis
por trait rrirrlrrtive, 53, 6o, 6t tcnsioLr, r3, 2f,n,2911,55, 6o rír, 6j 65,7)-71, Ñ r I I t orsl r i ¡ t tt t rl A t tI I t 01 iI )1 it t' I tt,t: t ttJ' lì i rst
possiblc worlcls, r2, tìl.t U9,94 96, rtl(r, 8Z fi9 9r, 96 92, 99 '1o1., )))j 127, t17,
Ocnlttry |it:liol lt Ltc l, I
t
ic I io t t, I u kl l.:tt r t t | .S¿l¿c/cr / 1j-c.çr r y.s
rgg- lo o r45 4ó, Ì83,2o1 4 l(;\l,l'jl I \\l l{¡\l)ì11( lil)l I lrD LiY I^ÀllìS l,l ll.:l ÄN
lt\(Jt. tr\\\/soN
¡rostclassicirl nirr r irtokrg¡ 3-4, lì tZ loZ l)/\\/ll) ll lìl(lll I lill
196 97 ^Nl)
tector t)2 25
ìz,ir1ìot.t, tot), þc t n it t i s I N a r ntli t,t I il I Li t s:'l)tci t J)c/ 5/i rr-si)l
potcrrlirì,26 27,31,59,92,9,+, ì09ì |1, vclbal rrar r¿Live ìrl, llU, t3¡ì, r4tì
'lltt llutl, tln:'|i tt¿, ttttd tlt¿ 'li¡ld: Pùstnt()tlr:t tt
t30, it I Nl0(1r t tt i \l I.t)i i n
r32, 1.14, 144, t54, t7t|, r8o vitlco ganres,6, r9r l(^ I llrl{1tr! lì S^UNl rl,llS 1.1^Sl l
II¡sloricd N(r,-/¡rlir/d ,rtrtl tlu lllltics rtl
fr.rgLniìtics, t5, 17, ).()n, t9lJ, 2otr-4, 2oZ 8, vjrtLL¿I / virluality, 5, t]7 tìt],90 ror, ro3 Iì,¿

t ¿ s ¿ t t t Ltt i tt t t
2lo r2 1ìca/ À'fy.stcrlc.s: N¡un¡lit,¿ atú lll lilll(. I l)lrlil
Uttl;ltt¡wilrlc
^lsf,ì'
ll l)()l{l lll{ AlllìO1 l

I
Frnnz IQ(ko: Nartatiort, Rlrctot íc, otú Utnntwol Voit¿s: F,xtrcntc Nnrration ilL lllottcrs of Fact: Ilcaditry NorLlictiott oycr llrc U t ulc r sto t Ldh Lg N ot r atív c
Reodilry fuIodc¡ tt atul Coutcntporury Þ'icLíott Edgc lìl)ll lìl) ll\ Jr\lv{ìiS ì)ì fììT,ÀN Plil lìR l
ljDl |tL)
It1 IAKOß t.O t Htì, IìBAf Rf(]ll lìAtìtNowl lz ^Nl)
LlRfÂN lìtCFlÂl:u)SoN l)r\Ntllf , W Ì.llllM^N
sANl)BEL{c, ¡(oN^l.D spltTlts
^Nt) Norratiyc Catsalitics 71tc Progress of llonritttcc: Litcrnry Èiarlilg Anna I(arenin¿r: 'I'olstoy, tlrc
Social Mhñs ùt tltc Novi:l tìÀ,11\,1 À NA t:^1.!tNos Historiogrnplry ntLd llLc Gotlûc Novcl Wotrnlt Qtrcstion, ntñ tlrc Victot iatt Nov¿l
,{T PAt N{lì{ [)AVTt)fl RtCLtIilì Al\t\ M,\NL)t-it.ñtìtì
^N Wlry Wc lleqd t'ictiott: 1lrcory o.f Mhñ arul
Nnrr¡tivc Strtrchncs atnl tlrc Latguagc of tln Novcl A GIottc¿ Bcyottd DotLbt: Narrrúiotr, G u td¿red h Ltcrv ct ttíot Ls : N nr núiv c
tlrc Sclf ],ISA 7-(JNSHINìì llcprc s ct ú ati or t, St tltj c ct i v ity I)lscor¿rs¿ ht tln Victorintt Novcl
N'fAl l ftlìW (ll./\ltK IIoBYN R \VARIIOT
SITI,oI\'III L] IIIN{N4oN ÑßNAN
I Kttow 71u¡t Yott Kttow Tlnt I IQu¡ut:
httogirrirtg Mùds: 7he Nutro-Aestlrctics oJ Nort otirtg Srújccts front Moll Fla nders lo Nat ttttivc ns Rlrctoric: 'l'ecluúque, Atulí¿ttccs, Iì.cod ir rg P co plc, Ilc adir tg P bts: C I nr nctc r,
Austctt Eli<¡t, Luul H¡tdy Malnie Iltlrics, Idcology Progrcssiut, urd tlrc Intcrpratatiort of
KAY YOUN(] (ìll()lì(ì| BUllIl IAN{IiS PlllìT /\N Narrotivc
lÀMtis Pl{tìl AN
Postclassicol Nn ratologlt: Altproacl antl lllo o dsc r ip l: s: W r iti r tg tl rc
Les
Vi olc t tt St Lbj cct M isrcn 11il ry ll:te F.yre A Postftn'unlist
Arnlyscs tìl coMIì1, Poradignt
lit)t nìt) lt\ l^N ANt) ^N^
llìRoÀ4Jl ßt,At \
^l.Lìlìì
À,toNlIiA Ft.ul)lltNilr Surprisad by Slntnc: Dostocvsky's Liars mtd
Narratitte Expoutc Psyclrclogicol Politícs of tlrc Altct icott
Tccl t r i quas for Li:, ir rg: Fi cti ot t ond'[1 rcor y i t r l)lìBoÌt,\¡I A M,\ttl tNSUN Dt ¿ottr T1rc CotwtrodiJrcntiot t of Srbjcctittity
tlrc Work of Christinc ßroolce-llosc
it t Tw c t ttícth- C ct til ry At t rcr i co t t I.itcro il t rc
N^tìltN t{ I Havhry a Good Cry: Elþnitnte Fcclítrys and
^wlì}.ìNclì l-ots lYs()N
I 'lbwanls tlrc Etlúcs of Fornt ilt Fictiorr:
Pop-Culilrc Fonts
lìOtìYN R Wr\llLIOl.
Nttrntl ivt s of C rl I rn tl Ri,¡lsslol¡
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LB()N^ l OKliR Politics, Pcrsuosion, otld Ptagtnittistn: A


lllrctoric of Fctninist Utopiorr l.ictitnr
Tnltloid, Inc.: Cr"ntcs, Ncv,,spapat s, BI,I ]'N P]']]I
Nort ¿tiyes
'[cllùry Toles: Gctitlct old Nø rativc Fonn ùt
V PINIiI OP]] PI]] IZZON AN])
NANCY M WtìSl Victorint Lit¿raturc aud CtLlturc
I]I,IZAßtJ1']1 t,ANCLANI)
Narratiye lvlcatts, þríc Errds: Tcttryortility itt
tltc Nítrctcantlt CanhLry BritislL Lorrg Pocttr Narrativc Dytnttúcs: Essrtys ott Tit¡tc, Plot,
MONtQUf Iì. Motì(ìAN Closurc, uttd Frnltrcs
ltDT f tiD ßy HUAN tìtcHAlìDsoN
loseltlr Cotrad: Voicc, Scquatcc, Historl,,
Gan'c Brcnkhg tlrc Franrc: Mctolepsis arul tlrc
ËDÚ |l) lly I,AN( )ll LO l.Ul.t, IBIU]ù{y CottstructiotL oj thc 9Lbjcct
l{^w tFlolìN, AND l^Mljs pt ll.^N t)Èßlì.A N.{Al.tN^

U t ulcr statrdit tg N ot io t utl i y ¡t : Ot t N ot rativ ¿, Ittyisiblc Atftlrcr: Last Ess¿))s


Cogrtítive Scietrcc, nnd Iduúity culìlsl lNli l:ll(oot(t,lì()sL
PAl l{lCK cot.M I IO(iAN
Ordùnry PL¿ostn'cs: CLttrplcs, Corwcrsntiort,
71rc ll.lrctot íc oJ Ìlictiotnlíty: Nm tativc otrd ()ntrctly
Tlrcory arrl the Idca oJ Fíctiott KAY )îUN(i
Lìtct f Atìt) \\¡ALstl
Nartntologias: Ncw Pcrspcctives on Narrativc
Iìxpc ríe t tcirrg t'^icti ou: lr nlgn rc t ús, Arnþsis
ProgrcssiotLs, old tlrc Rhctorical Tlnorl, of tìì)illl) lrY l)AVtD Èfli¡tMAN
N¡rrdiyc
BeJLnc llcadùg Narratit'c Ct¡twctttkuts nttd
IAMIìS Plûit.AN
tlrc Politics oJ Ittterprctatiott
Pt l tìR J tìA ßtN()wl t z