Frameworks: Narrative Levels and Embedded NarrativeThe structural device of the «story within a story», variously labeled «frame», «Chinese box», «Russian doll», or «embedded» narrative, is so widely found in the literature of all cultures and periods as to approach universality. Despite its durable attraction for writers and audiences throughout history, however, embedded narrative remains a form largely unmapped by literary theory. This study surveys and synthesizes the work done to date on this significant artistic technique and breaks new ground by providing a comprehensive model for the description and analysis of the many types and functions of embedded narrative. |
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Page 13
... leaves out the intermediary agent of the implied author , which would seem to call for a third gender , especially in cases where the im- plied author and narrator are not so closely allied as in Austen . Given these drawbacks , it ...
... leaves out the intermediary agent of the implied author , which would seem to call for a third gender , especially in cases where the im- plied author and narrator are not so closely allied as in Austen . Given these drawbacks , it ...
Page 113
... taken in isola- tion " ) . Applying here the analysis developed above , I would ar- gue that Bal's valorization of story leaves her model open to the same objections as the binary model . Her system is Stories Without Stories 113.
... taken in isola- tion " ) . Applying here the analysis developed above , I would ar- gue that Bal's valorization of story leaves her model open to the same objections as the binary model . Her system is Stories Without Stories 113.
Page 148
... leaves off the initiating part of the embedding narra- tive and reveals only at the end that the story has been embedded ( " it had all been a dream " ) runs a greater risk of being perceived as poorly structured . That is not to say ...
... leaves off the initiating part of the embedding narra- tive and reveals only at the end that the story has been embedded ( " it had all been a dream " ) runs a greater risk of being perceived as poorly structured . That is not to say ...
Contents
Introduction | 1 |
Historical and Implied Authors and Readers | 9 |
The General Narrator | 45 |
Copyright | |
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actions agent analysis appears apply approach argued audience Bal's become Booth chapter characters Chatman clear complete concept consider convention course create critics define definition diegesis direct discourse discussion distinction editor effect elements embedded narrative entirely evidence example existence extradiegetic fact fiction focalization follow frame function further Genette Genette's given historical author historical reader implied author implied reader important inferred intentions interest internal interpretation John least less letters limit literary logical meaning narrative levels narratology narrator narrator's never noted Nouveau novel objective observation offered perhaps Poetics position possible precisely presented problem produced proposed question reasons récit refer relation remarks response role seems sense separate shift single speaks story structure suggested telling theoretical theory tion tive writer written