热奈特叙事话语重点概念精简版

1、文档从网络中收集，已重新整理排版.word版本可编辑欢迎下载支持.lword版本可编辑.欢迎下载支持.目录Narrative Discourse.2Chapter One order.4Chapter Two Duration.8Chapter Three Frequency.11Chapter Four Mood.13Chapter Five Voice .17文档从网络中收集，已重新整理排版.word版本可编辑欢迎下载支持.2word版本可编辑欢迎下载支持.Narrative DiscourseBy Gerard Genette Pbed in 1980Narratology denote

2、s both the theory and the study of narrative and narrative structure and the ways that these affect our perception. As a matter of fact,什lis word is an anglicisation of French word narratologie. coined by Tzvetan Todorov (Grammaire du Decameron. 1969). Since the 1960s, the contemporary narrative the

3、ory has been rapidly developing towards maturity, in which French structuralist critic Gerard Genette plays a pivotal role. On the basis of absorbing the others5 research results, he constructs his own narrative theory, whose origin mainly includes Saussure Linguistics, Structuralism. Russian Formal

4、ism, and New CriticismRussian formalists argue that the literary characteristic is not what to write but how to write Literary narrative mainly includes sjuzhct (plot) and fabula (usually refers to story Fabula and sjuzhet (also syuzhet, siyet, sjuzet, or siizet) are terms onginatmg in Russian Forma

5、lism and employed in narratology that describe narrative construction. Sjuzhet is an employment of narrative and fabula is the order of retelling events. They were first used in this sense by Vladimir Propp and Shklovsky.). And the plot determines the story. On the basis of this formalist concept, P

6、ropp places emphasis on form and structure of works in his Morphology of the Folktale (1928) But he only takes note of the syntactic relationship of the surface of the story. Later Gremas, Levi Strauss, and French narratologist Bremond carry out a series of comprehensive researches on the relationsh

7、ip between the surface and deep structures of the story, and sum up a wide variety of grammatical patterns of the story. Though large and vague, these narrative structure models provide a great reference for Genette New Criticism representatives Brooks and Warren collaborate on Understanding Fiction

8、(979)y put fbnvaid the question of who speaks”，and hence draw forth the concept of focus of narration, which lays a solid3word版本可编辑欢迎下载支持.文档从网络中收集，已重新整理排版.word版本可编辑欢迎下载支持. foundation for Genettes HfocalizationH theory. Moreover, as far as the study of the narrative formula, it is obvious that Genett

9、e is influenced by Wayne Booths The Rhetoric of Fiction (1983) However, in terms of the narrative form. Booth has a similar view to New Critics.Accepting and absorbing the above-mentioned scholars5 advantages and strengths, Genette published Narrative Discourse in 1972, which makes Marcel Prousts In

10、 search of Lost Time the research object and proposes his own unique narrative outlook In the book, at first he indicates that narrative contains three distinct notions, namely, narrative, story and narrating, and further distinguishes them Narrative refers to narrative discourse, which means the na

11、rrative statement, the oral or written discourse that undertakes to tell of an event or a series of events” (Genette, 1980: 25). Story means an event or a series of events told in narrative discourse, real of fictitious. Narrating is the act of someone recounting something. To analyzing narrative di

12、scourse is, essentially, to study the relationship between narrative and story, between narrative and narrating, and between story and narratingExcluding Introduction and Afterword, Narrative Discourse is divided into five chapters, which are Order, Frequency, Duration, Mood, and Voice in turn. In t

13、he five chapters, Genette at length analyzes the artistic techniques of In search of Lost Time, and hence summarizes and establishes a set of his own narratology. Genette incorporates French structuralist narrative theories, constructs rather comprehensive and systematic narrative theory, and thus l

14、ays a solid foundation for contemporary narratology. It is under the influence of his narrative discourse that many subsequent scholars and experts such as Miede Bal, Gerald Prince, and Rimnion-Kenan further explore and deeply dig the narrative theories. These scholars speak highly of his narrative

15、discourse, and in the meantime put forward some doubts and challenges, in view of which Genette also published Nouveau discours du recit (new narrative discourse) in 1983 as a response In this new narrative discourse, he discusses such questions as the classification of person, the application of th

16、e present tense, the interrelation between文档从网络中收集，已重新整理排版.word版本可编辑欢迎下载支持. 3word版本可编辑欢迎下载支持.mood and voice, and focalization, and consequently interprets and perfects his narrative theor y.In short, Genette presents a lot of concepts which has become the standard terms of classic in the narrative f

17、ield Besides, the publication of his Narrative Discourse has aroused strong reaction and sensation in the literary theory circle. According to his narrative 什leory, many analyze and interpret the specific works and bear great fruitChapter One orderTime is thought of as a uni-directional and irrevers

18、ible flow, a sort of one-way street, just as Heraclitus said early in western history: “You cannot step twice into the same river, for other waters and yet other waters go ever flowing on.” However, as far as narrative activity is concerned, the time of even the simplest story escapes the ordinary n

19、otion of time conceived as a series of instants succeeding one another along an abstract line oriented in a single direction (Ricoeur, 1980: 169). Narrative is the art of TIME, which is the main subject that the majority of structuralist narratological works dwell on. In narratives, TIME can be defi

20、ned as the relations of chronology between story and text, possessing the duality, namely, the time of the thing told and the time of the narrative German theoreticians refers to this kind of temporal duality as the opposition between uerzahlte Zeit” (story time) and Erzahlzeit (narrative time). In

21、Les categories du recit litteraire, Todorov divides the nairative into three categories: tense, aspect, and mood Here the tense means the relationship between the story time and the discourse time.In Narrative Discourse, Genette spends almost half of the book researching TIME( from p.33 to p.l 60).

22、According to Genette, time can be viewed in three respects: order, duration and frequency, under which he sets out to examine the relations between the story time and the文档从网络中收集，已重新整理排版.word版本可编辑欢迎下载支持. text time.Definition of Order3word版本可编辑欢迎下载支持.According to Genette, to study the temporal order

23、of a narrative is to compare the order in which events or temporal sections are arranged in the narrative discourse with the order of succession these same events or temporal segments have in the story (Genette, 1980: 35). Actually, the order is intended for exploring the relations between the story

24、 time and the narrative time In Genette terms, the main types of discrepancy between them are called anachronies, which mainly include three types: analepsis, prolepsis, and achrony.An analepsis is any evocation after the fact of an event that took place earlier than the point in the story where we

25、are at any given moment” (Genette, 1980: 40). That is to say, it is a narration of story-event at a point in the text after later events have been told. This narration goes back to a past point in the story. A prolepsis is any narrative maneuver that consists of narrating or evoking in advance an ev

26、ent that will take place later (Genette, 40). It is a narration of story-event at a point before earlier events have been mentioned The narration takes an excursion into the future of the story. In order to determine the anachrony, Genette introduces two concepts: reach and extent. The former refers

27、 to the temporal distance far from the present moment, when an anachrony appears, whether analeptic or proleptic The latter means the duration of story covered by the anachrony. If reach and extent of an (or mainly isolated) event can not be clearly determined, the event is dateless and ageless This

28、 kind of anachrony deprived of temporal connection is called an achronyAccording to Genette, every anachrony is made up of a narrative that is temporally second, namely, second narrative. With respect to the anachrony, the totality of the context can be taken as first narrative” (Genette, 1980: 49).

29、 Based on the differences between an analepsis and the first narrative in reach an extent, Genette classifies analepses into three types: external analepsis, internal analepsis and mixed analepsis.文档从网络中收集，已重新整理排版.word版本可编辑欢迎下载支持.External analepsis means its entire extent remains external to the ext

30、ent of the first narrative (Genette, 1980: 49). The second analepsis is, in Genette terms, internal analepsis, whose temporal departure and extent are within the first narrative. The third analepsis referred to by Genette is called mixed analepsis, whose reach goes back to a point earlier and whose

31、extent arrives at a point later than the beginning of the first narrative (Genette, 1980: 49). In others words, if the period covered by the analepsis begins before the starting point of the first narrative but at a later stage either joints it or goes beyond it, then the analepsis is considered mix

32、ed. On the whole, analepses can add the narrative capacity in unit of time. It, more often than not, contains the rich and long train of thoughts and the diverse and confused past, world Apart from analepses, the second common form of anachronies is prolepses, which can be defined as any evocation a

33、fter the fact of an event that took place earlier than the point in the story where we are at any given moment” (Genette, 1980: 40). Prolepses are a kind of anticipation or a hint at the future event. Like analepses, prolepses are also divided into external prolepses and internal prolepsesThe limit

34、of the temporal field of the first narrative is clearly marked by the last non-proleptic scene and some events take place after this scene As opposed to external prolepses, internal prolepses can be designated as some episodes told earlier than the last non-proleptic scene of the story.AchronyIn suc

35、h anachronies as analepses and prolepses,什wir reach and extent can essentially be confirmed However, in the achrony, the events express the narrative capacity to disengage its arrangement from all dependence on the chronological sequence of the story it tells.” (Genette, 1980: 84) From the context,

36、readers cannot obtain any inference It is an anachrony deprived of every temporal connection In achronies, the most outstanding way is 6word版本可编辑欢迎下载支持.3word版本可编辑欢迎下载支持.文档从网络中收集，已重新整理排版.word版本可编辑欢迎下载支持. synchrony”，which brings the story time upon the same plane, blurs the linear relation of time and

37、 highlights the spatiality of the event. Genette insists, Proleptic analepses and analeptic prolepses are so many complex anachroies, and they somewhat disturb our reassuring ideas about retrospection and anticipation.some events not provided with any temporal reference whatsoever, events that we ca

38、nnot place at all in relation to the events surrounding them.they need only be attached not to some other event but to the (atemporal) commentarial discourse that accompanies them. (Genette, 1980: 83)Another form of achronies is the atemporal commentarial discourse. Expounding the achronies in Marce

39、l Prousts In search of Lost Time. Genette points out that the narrative order of the story has no connection to the temporal order of the events, or only a partially coincidental connection. “The truth is that the narrator had the clearest of reasons for grouping together, in defiance of all chronol

40、ogy, events to be connected by spatial proximity, by climatic identity, or by thematic kinship; he thus made clear, more than anyone had done before him and better than they had、narratives capacity for temporal autonomy.n (Genette, 1980:85)文档从网络中收集，已重新整理排版.word版本可编辑欢迎下载支持.8 word版本可编辑欢迎下载支持.Chapter T

41、wo DurationDeflnition of DurationDuration refers to the relations between the time the events are supposed to have taken to occur and the amount of the text devoted to their narration in the novel. According to Genette, there are totally four basic forms of narrative movements, which are two extreme

42、s, namely, ellipsis and descriptive pause, and two intermediaries: scene and summary. All these four narrative movements signify the narrative speed or pace Genette proposes to employ constancy of speed to examine the degrees of duration. The maximum speed is ellipsis, where there is zero textual sp

43、ace corresponding to some story duration. On the other hand, the minimum speed is indicated as a descriptive pause, in which a certain segment of the text corresponds to zero stoiy duration In theory, there are infinite possibilities of speed between the two extremes while in practice all of them ca

44、n be conventionally reduced to summary and scene In summary, the speed is accelerated through a textual condensation or compression” of a given story-period into a relatively short statement of its main features. The degree of condensation can, of course, vary from summary to summary, producing mult

45、iple degrees of acceleration In scene, story duration is conventionally equal to text duration. The purest scenic form is dialogue, in which story time is identical to narrative pseudo-time. In addition, a detailed narration of an event can also be regarded as scenicGenette schematizes the temporal

46、values of such four movements as Pause. Scene, Summary and Ellipsis with the following formulas, with ST designating story time and NT the pseudo-time or conventional time, of the narrative:Ellipsis: NT=O, ST=n. Thus: NTooSTSummary: NTST(GenetteJ 980: 94-95)Here, means longer thanCharacter by Todoro

47、v.Internal focalization takes place when events or thoughts are mediated through the point of view of the focalize and it can be symbolized by Narrator = Character, signifying that the narrator says only what a given character knows It is always employed by modern narrators to see an event or to exp

48、erience a feeling from a character perspective, emphasizing the description of the thoughts, feelings of characters, as well as analysis and interpretation of their actions. This narrative type includes three sub-types: fixed internal focalization, referring to that the presentation of narrative fac

49、ts and events from the constant point of view of a single focalizer, variable internal focalization, which means the presentation of different episodes of the story as seen through the eyes of several focalizers, and multiple internal focalization, a technique of presentation of an episode repeatedl

50、y, each time through the eyes of a different focalizer.External focalization occurs when the narrator presents the aspects of the story using solely observable, external information, and it denotes a focalization that is limited to what the observer could actually have observed from the outside This

51、 focalization has the narrator focusing on some visible and external aspects of the events and characters in the narrative, and the narrator merely relates physically ascertainable facts to the reader. It could be formulated as: NarratorCharacter.文档从网络中收集，已重新整理排版.word版本可编辑欢迎下载支持.17word版本可编借欢迎下载支持.Ch

52、apter Five VoiceDefinition of VoiceTlie tenii voice easily reminds readers of its grammatical definition that refers to a verb either active or passive More generally, it indicates the relation of the subject of the verb to the action which the verb expresses On the narrative level, the subject is n

53、ot only the person who carries out or submits to the action, but also the person (the same one or another) who reports it, and, if needed, all those people who participate, even though passively, in this narrating activity (Genette, 1980:213). In narratology, the basic question involving voice is Wh

54、o speaks?” It means that who nan-ates this stoiy. bice has a gieat deal to do with characterization and consciousness of the narrator or narrators According to Genette, narrative voice concentrates on the study of the narrating instance from three aspects: time of narrating, narrative levels and per

55、sonVoiceTime of NarratingTime of naiTating in a text cant be avoided, since a writer must necessarily tell the stoiy in a tense, no matter whether it is present, past, or future, and it can keep various temporal relations with the events of the story. The narrator is always in a specific temporal po

56、sition relative to the story he or she is telling From the point of view of temporal position, Genette describes four types of narrating.The most frequently used one far and away is called subsequent narrating, which is the classical position of the past-tense narrative, telling readers the events a

57、fter they happen; the second type is a kind of predictive narrating, which is called prior narrating that is generally in文档从网络中收集，已重新整理排版.word版本可编辑欢迎下载支持. the future tense, but not prohibited from being conjugated in the present. This kind of narration often takes the form of a dream or prophecy; th

58、e third one, simultaneous narrating in a narrative is in the present contemporaneous with the action, that is, the narrator tells his or her story at the very moment it occurs; and the last narrating is interpolated narrating, which happens between the moments of the action.Narrative LevelsThe term of narrative levels basically means the telling of a narrative, its s