description: comparative literature welcomes articles that explore important issues of literary history not confined to a single national literature. We also encourage submissions that address significant problems in literary theory. Our editors and editorial board are sympathetic to a broad range of theoretical and critical approaches. 4 moving wall the moving wall represents the time period between the last issue available in jstor and the most recently published issue of a journal. In rare instances, a publisher has elected to have a zero moving wall, so their current issues are available in jstor shortly after publication. narrative discourse: an essay in method discours du r cit 1972 g rard genette course taught by g rard genette: narrative discourse: an essay in method discours du r cit 1972 eng.

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Wayne boothпїѕs the rhetoric of fiction is primarily limited to problems of narrative perspective and point of view. G rard genette, along with roland barthes and tzvetan todorov, are structuralists as such, they are not interested in interpreting literature but in investigating its structures and devices. Structuralists devoted considerable attention to plot structure or the пїѕgrammarпїѕ of the plot. Some of genetteпїѕs ideas on time are that, with respect to order. Events occur in one order but are narrated in another by means of flashback , foreshadowing. With respect to pace or duration scene, summary , the narrative devotes considerable space to a momentary experience a scene and then leaps over or swiftly summarizes a number of years summary with respect to frequency.

The narrative may repeatedly recount an iterative event that happened only once or may recount once what happened frequently pseudo iterative. Genette, in addition to mimesis and diegesis, include the scandalous from a point of view polymodality. Proust is пїѕtransgressive.пїѕ preface: this is a structuralist study of marcel proustпїѕs a la recherche du temps perdu 1912 1927 remembrance of things past eng.

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Introduction: пїѕnarrativeпїѕ r cit is 1 the oral or written discourse that undertakes to tell of an event or a series of events, 2 the succession of events, real or fictitious, that are the subjects of this discourse, and to their several relations of linking, opposition, repetition, etc. And 3 the event but not the one recounted but that consists of someone recounting something: the act of narrating taken in itself. The word пїѕstoryпїѕ histoire refers to the signified or narrative content diegesis refers to the story as signifier the statement, discourse, or narrative text itself: signified content story > histoire > narrative content 034 this book is generally considered one of the most significant contributions to literary criticism in the 1970 039 s, and it is almost essential or anyone doing serious study of narrative. The book is difficult and introduces a great deal of terminology, some of which has already been adopted by critics.

It is well organized and systematic, a good example of what robert pirsig called the classical manner, a whole divided into its subordinate parts, those parts being further subdivided. To illustrate the use of his narrative analysis genette applies it to proust 039 s remembrance of things past and provides us with an insight into that great series. Gorman april, 1984 034 readings 02.20.09, pm genettes book is about the treatment of time and narrative in marcel prousts a la recherche du temps perdu. Since i am not focused on either proust or summarizations of his work, my analysis of this will be focused on the forms of time in narrative, and how those relate to other types of media, specifically games. Genette is not the first person to analyze the complex relationships of time in narrative, but he is arguably one of the first to conduct so thorough an analysis. The point of view in a work is a combination of both mood and voice. Mood is whose point of view does the narrative take, while voice is who the narrator is, which are two different questions.

A narrative may be focused internally, through a character, but it may also be focused externally, onto a character. Which is the network of means by which the plot is interwoven with the narrative. The iterative is analyzed in terms of order, duration, and frequency, which suggest an almost musical theory. In addition, genette finds in proust a system of variations and deviations from conventional systems of point of view, leading to anomalous systems of polymodality, where a narrative moment may reveal both information limited by a point of view, and information beyond it. Sentences like i watched george reach into his briefcase for something while he thought about whether he might have lamb for dinner that evening taken from the foreword, p.

12 13 , confuse the seemingly ordinary relationship between perspective, mimesis, and diagesis. It has always been my perspective that narrative is systemic, and that fiction is a kind of simulation. Narrative is frequently described as a linear form, but that assessment seems inaccurate. Narrative is treated as linear because our minds are engines for digesting presented elements and reassembling them into a sequential format, however, the actual process and matter of narrative is far from linear. Text is a linear medium, as is film, but narrative is a form, that can be rendered into either of these media. Similarly, narrative may be rendered into a game, or read from a game but this is not to say that they are equivalent or that the transformations are lossless or ideal. What is important to realize, though, is that both narratives and games provide approaches to a world or the time of a world in several ways, and that those ways are deep and complex.

They are not the same approaches, but given a close inspection such as in the iterative dimensions shown by genette , they might have more in common than first appears. The specificity is irreducible, but, he argues, the specificity is not indecomposable, so what is learned here may be applied elsewhere. I would argue that the devices and structures he finds may be easily applied to other narratives, but the conclusions induced by the use of those are not so extensible. The focus on the specific work to guide a broader study is analogous to my focus on austen. The analysis of narrative discourse is the analysis of the relationships of the story elements, notably between story, narrative, and narrating. These are the different senses conjured by the word narrative, but they are functionally distinct.

Genettes starting point is the categories of tense, aspect, and mood, which were originally defined by todorov. Tense is the relationship between the time of the story and the time of the discourse aspect is the way in which the story is perceived by the narrator and mood is the type of discourse used by the narrator. The chapter on order is concerned with the presentation of the story from within the narrative time. This discussion originally comes from christian metz 1974 , and gunther muller 1948. At this level, it is possible to look at narrative nodes as having two temporal coordinates, the location in the narrative itself, and the location in the story.

The course of narration is often done in sequences of linear structures, where movement that changes the order is an anachrony. The existence of these constructs two threads in the story time, with one subservient to the other. The relationship between these can form a sort of conflict all of its own, with both threads vying for dominance.