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 76
... question qui voit ? et la question qui parle ? ” ( Figures III 203 ; " between . . . the question who sees ? and the ques- tion who speaks ? " [ Narrative 186 ] ) . 1 His interest was in describing two aspects of narrating , not two ...
... question qui voit ? et la question qui parle ? ” ( Figures III 203 ; " between . . . the question who sees ? and the ques- tion who speaks ? " [ Narrative 186 ] ) . 1 His interest was in describing two aspects of narrating , not two ...
Page 77
... questions ' Qui voit ? ' ( question de mode ) et ' Qui parle ? ' ( question de voix ) si ce n'est pour regretter une formulation purement visuelle , et donc trop étroit " ( Nouveau 43 ; " My only regret is that I used a purely visual ...
... questions ' Qui voit ? ' ( question de mode ) et ' Qui parle ? ' ( question de voix ) si ce n'est pour regretter une formulation purement visuelle , et donc trop étroit " ( Nouveau 43 ; " My only regret is that I used a purely visual ...
Page 90
... question of metaphorical point of view , a question of narrating , the second a matter of literal point of view , a question of camera angles , and the failure of this model to distinguish the two constitutes its most serious flaw . A ...
... question of metaphorical point of view , a question of narrating , the second a matter of literal point of view , a question of camera angles , and the failure of this model to distinguish the two constitutes its most serious flaw . A ...
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