Академический Документы
Профессиональный Документы
Культура Документы
Learning Outcomes
By the end of this session you should be able to
Discuss plots based on archetypal features Understand and pick out social and cultural aspects of these archetypes Recognise schemata and make your own
narrative
narrative Anything that tells or presents a story, be it by text, picture, performance, or a combination of these. Hence novels, plays, films, comic strips, etc., are narratives.
story
A sequence of events involving characters. 'Events' include both natural and non-natural happenings (such as floods and car accidents). Characters get involved by being agents (causing an event), victims (patients), or beneficiaries (being affected by an event). Linguists further make a distinction between verbs which signal willful ('volitional') acts (What does X do? -- jump from a bridge, watch a show) and verbs which signal non-volitional acts or experiences (What does X experience? -- falling from a bridge, seeing an accident).
Genette has illustrated the basic structure of embedded narratives with the help of a naive drawing using stick-figure narrators and speech-bubble narratives (Genette 1988 [1983]: 85) In graphic (a), first-degree narrative A contains a second-degree story B. The other examples in the graphic are 'Chinese-boxes models' which can be drawn to great accuracy, indicating both the relative lengths of the various narratives as well as their potentially 'open' status (Lintvelt 1978; Ryan 1991: 178; Branigan 1992: 114).
Specific problem
Discourse genres are defined as nonlinguistic phenomena Swales (1990): genres are attributes of discourse communities genres serve typical communicative intentions salient in such communities It is not clear whether genres can be attributed any linguistic properties
Problem
Too large-scale approach: It is unclear how one can make any predictions of the linguistic form of a genre specimen
Descriptive
Expository (explanatory) Instructive and hortatory (sermons) Persuasive (argumentative)
Persuasive
Modal verbs
Genre Schemata
Genres can be defined in terms of genre schemata. Genres schemata can be defined as combinations of passage types
Passage types can be defined in terms of rhetorical relations
Grammar
Exploration of how texts stick together
Schemata: diagrams
Characters
Bulgarian theorist Tzvetan Todorov discovered that folk tales and fairy stories all followed a similar structural pattern. This is known as the Classic Narrative Pattern, and is directly applicable to mainstream films and TV dramas today. Vladimir Propp proposed that there are distinctive character types and actions in all fairy tales and this is often applied to other stories as well although both theories are not always applied successfully.
Resolution
Equilibrium
Restored Order
New Equilibrium
Vladimir Propp
Vladimir Propp is a Russian structuralist who studies fairy stories and established character types and events associated with them. He called the events Functions and their numbers were limited to 31. He developed a character theory for studying media texts and productions, analyzing 100 tales and indicated that there were 7 broad character types, which he thought could be applied to other media products.
The False Hero- claims to be the hero, often seeking and reacting like a real hero.
A variant on the villain and a potential complication within the plot is the False Hero, who appears to act heroically and may even be initially mistaken for the real Hero. The False Hero will try to steal the Hero's thunder, grabbing the credit and perhaps trying to marry the princess instead. The False Hero is thus an usurper, a thief perhaps of the worst kind, who plays on people's good nature to boldly steal in broad daylight. The False Hero may also gain the respect or other control of the Princess's Father, thus frustrating the Hero's ability to gain the hand of the Princess.
Overcoming The Monster Star Wars The Call or anticipation stage Initial Success
Confrontation
Final Ordeal The Miraculous Escape
Rags to Riches
Cinderella
Meet the hero/heroine in childhood The Dark Figures The Brief Glimpse of Glory The Central Crisis The Reversal of Fortune (bad to good) The Glorious State of Completeness
The Quest The Call: The Iliad, The Hobbit, Watership Down The heros companions
The Journey: Replete with temptation, deadly opposites, a statutory visit to the underworld The helpers
The final ordeals The life-renewing goal
Voyage and Return: Alice in Wonderland, Brideshead Revisited, Gone With The Wind, Goldilocks and The Three Bears, The Wizard of Oz The Fall into the other world Initial Fascination the dream stage
Comedy: The Marriage of Figaro, Alls Well That Ends Well, pretty much anything by Jane Austen, Singin In The Rain, Four Weddings And A Funeral In comedy, the plot is brought to light through a process of recognition A key character (maybe the hero/heroine) is revealed to be someone quite different to what had been supposed The characters must discover who they belong to their other half Where there has been division, separation and loss, it shall be repaired
The Call towards a desire Dream Stage commitment to the course of action Frustration Stage the hero finds no point of rest Nightmare stage the hero loses control Destruction or death wish stage the hero is destroyed
Rebirth: A Christmas Carol, The Snow Queen, the Secret Garden The hero/heroine falls under the shadow of a dark power For a while, all appears well The dark shadow returns, imprisoning the hero in a state of living death The dark power appears triumphant The miraculous redemption through the help of another (hero, young woman or child)
Propp's Character
Levi-Strauss
French Anthropologist
Says storytelling is used as a means of coping with the fundamental contradictions and irresolvable difficulties of a society. Each culture therefore produces its myths: a story which is not true, but something which is repeated so many times it becomes part of a cultures reality or common sense
Levi-Strauss
hero/villain rich/poor male/female fear/happiness.
Westerns Cowboys/Injuns Sheriff/Outlaws Nature/ The Railroad Wilderness/ Town Peace/ Fighting
Complication
(2nd sphere The Body of the Story)
Transference
(3rd Sphere: the donor sequence, magic agent is obtained)
Struggle
(4th Sphere: the heros return)
Returns
(still the 4th Sphere)
Recognition
Reading
Good site: http://www.uni-koeln.de/~ame02/pppn.htm
Portfolio: Homework
Read any version of The Fisherman and His Wife in the D.L. Ashlimans anthology at http://www.pitt.edu/~dash/ type0555.html.
Then: Work out the sequence of peaks and episodes, in table form. Create a schema for the story you have chosen. Hand in the schema with the order of events/episodes.