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Understanding Narrative Structures

Narratology is the study of narrative structures and storytelling. Key figures in narratology include Aristotle, who identified character, action, hamartia, anagnorisis, and peripeteia as essential plot elements. Vladimir Propp analyzed folk tales and identified 31 narrative functions. Gerard Genette's work focused on how stories are told, examining aspects like narrative perspective, who is telling the story, how time is handled, and how speech and thought are represented. Narratologists seek to understand recurring narrative structures across stories.

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42 views5 pages

Understanding Narrative Structures

Narratology is the study of narrative structures and storytelling. Key figures in narratology include Aristotle, who identified character, action, hamartia, anagnorisis, and peripeteia as essential plot elements. Vladimir Propp analyzed folk tales and identified 31 narrative functions. Gerard Genette's work focused on how stories are told, examining aspects like narrative perspective, who is telling the story, how time is handled, and how speech and thought are represented. Narratologists seek to understand recurring narrative structures across stories.

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Ana
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© All Rights Reserved
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NARRATOLOGY

Telling stories
Narratology

- study of narrative structures (its also a branch of structuralism)


- is about stories
- the attempt to study the nature of story itself, as a concept and as a cultural practice

The story – is the actual sequence of events as they happen

- being the events as they happen, has to begin at the beginning, move
chronologically, with nothing left out

The plot – is those events as they are edited, ordered, packaged, and presented in what we
recognise as a narrative

- may well begin somewhere in the middle of a chain of events, and may then
backtrack, providing us with flashbacks which fills us in on things that happened
earlier
- may also have elements which flash forward, hinting at events which will happen
later
- it is a version of the story which should not be taken literally

-a history of narratology follows, centred on three main characters, the first of whom is
Aristotle

Aristotle

- he identifies character and action as the essential elements in a story, and says that
character must be revealed through action. Which is to say through aspects of the
plot
- he identifies three key elements in a plot, these being:
THE HAMARTIA
Means a sin or fault – which is often the product of the fatal character-
defect which came to be known as the tragic flaw
THE ANAGNORISIS
Means recognition or realisation-this being the moment in the
narrative when the truth of the situation is recognised by the
protagonist, often in a moment of self-recognition
THE PERIPETEIA
Means a turn-around or a reversal of fortune
- we can see traces of these Aristotelian elemnts in even the most rudimentary of narrative
material, such as the cartoon diagram

- Aristotle, saw all three elements as centred on the prontagonist (the hero or heroine of the
drama)

- Aristotle's three categories are essentially to do with the underlying themes and moral
purposes of stories, being very much about what might be called 'deep content' since in an
important sense they all concern 'inner events' (a moral defect, the recognition of its
existene, and the consequences of its existence)

-a second important figure is Vladimir Propp, a critic who worked on folk tales

Vladimir Propp

- his work is based on a study of his corpus of a hundred tales, and he concluded that
all these tales are constructed by selecting items from a basic repertoire of thirty-one
'functions', actions
- to make the plot of any given individual tale, you put together a selection of items
from the list
- the order of the functions is fixed partly, as Propp says
- Propp's seven spheres of action are:
THE VILLAIN
THE DONOR, provider
THE HELPER
THE PRINCESS AND HER FATHER
THE DISPATCHER
THE HERO, seeker or victim
THE FALSE HERO
- Using the list of thirty-one functions and the seven spheres of action we can generate
the plot of any individual folk tale

-one of the most prominent narratologists has been Gerard Genette, whose work has as its
focus, not the tale itself, but how it is told, the process of telling itself

Gerard Genette

- there are six particular areas which Genette discusses:


1. Is the basic narrative mode 'mimetic' or 'diegetic'?

Mimesis – showing or dramatising – the parts of a narrative which are presented in a


mimesis manner are dramatised, which is to say that they are represented in a 'scenic'
way, making use of a dialogue which contains direct speech

Mimesis – slow telling, in which what is done and said is staged for the reader, creating
the illusion that we are seeing and hearing things for ourselves

Vs.

Diegesis – telling or relating – the parts of a narrative which are presented in this way are
given in a more rapid or panoramic or summarising way – the aim is to give us essential
or liking information as efficiently as possible, without trying to create the illusion that
the events are taking place before our eyes

- Writers can use the two modes in tandem, moving from mimetic to diegetic, and
back agian, for strategic reasons

2. How is the narrative focalised?

Focalisation – means 'viewpoint' or 'perspective', which is to say the point-of-view from


which the story is told

- External focalisation – viewpoint is outside the character depicted, so that we are


told only things which are external or observale
- Internal focalisation – the focus is on what the character think and feel, these being
things which would be inaccessible to you even if you had been present
- Zero focalisation – this occurs when no systematic conceptual or perceptual
constraint governs what may be presented  characteristic of traditional or classical
narration, 'omniscient narration'

3. Who is telling the story?

The author is telling the story, but not necessarily in his or her own voice or persona.

- Non-intrusive – not identified at all as a distinct character with a name and a


personal history, and remains just a voice or a tone, which we may register simply as
an intelligent, recording consciousness, which strives for neutrality and transparency
- Intrusive – identified as a distinct, named character, with a personal history, gender,
a social-class position, distinct likes and dislikes… these narrators have witnessed, or
learned about, or even participated in the events they tell
o Heterodiegenic – one who is not a character in the story , but an outsider to it
o Homodiegetic – present as a character in the story he tells
First-person narrators may be either heterodiegetic or homodiegetic, since they may
be telling someone else's story, rather than their own.

Omniscient narratoes are necessarily heterodiegetic.

4. How is time handled in the story?

Narratives often contain references back and forward, so that the order of telling does
not correspond to the order of happening.

- Sometimes the story will 'flash back' to relate an event which happened in the past,
and such parts of the narrative can be called – analeptic('back-take')
- The narrative may 'flash-forward' to narrate, or refer to, or anticipate an event which
happens later, and such parts can be called – proleptic ('fore-take')
- Writers make strategic use of both analepsis and prolepsis in telling a story, for the
beginning is seldom the best place to begin – stories tend to begin in the middle, in
medias res, with analeptic material sketching out what went before, and proleptic
devices hinting at what the outcome will be

5. How is the story 'packed'?

Stories are not always presented 'straight'.

- Primary narrative – the narrative which comes first


- Secondary narrative – the narrative which comes second and is embedded into the
primary narrative and it's usually the main story
- Meta narrative – the narrative within the narrative

Frame narratives:

- SINGLE-ENDED frame narrative is one in which the frame situation is not returned to
when the embedded tale is complete
- DOUBLE-ENDED frame narrative is the one in which the frame situation is re-
introduced at the end of the embedded tale
- INTRUSIVE frames, meaning that the embedded tale is occasionally interrupted to
revert to the frame situation

6. How a speach and thought represented?

 Speech which can be 'direct and tagged'.


- Direct speech – the actual spoken words are given, inside the inverted commas), and
'tagging' is the name for the attached phrases which indicate who the speaker is

'What's your name?' Mario asked her. 'It's Telma', she replied.
 Speech which can be 'direct and untagged'.
- If more than two characters are engaged in conversation, or if the exchange is not
simply a sequence of questions and answers

'What's your name?' 'Thelma.'

 Speech which can be 'direct and selectively tagged'.


- The tagging is selective because the first utterance is tagged, but not the second

'What's your name?' asked Mario. 'Thelma.'

 Speech which can be 'indirect speech'-


- The speech is in reported form, so that we are not given the actual spoken words

He asked her what her name was, and she told him it was Thelma.

 Speech which can be 'free indirect speech'.


- The speech is reported or indirect, which is indicated by the switching of verbs from
the present tense to the past tense

What was her name? It was Thelma.

What narratologists do ?

- They look at individual narratives, seeking out the recurrent structures which are
found within all narratives
- They switch much of their critical attention away from the mere content of the tale,
often focusing instead on the teller and the telling
- They take categories derived mainly from the analysis of short narratives and expand
and refine them so that they are able to account for the complexities of novel-length
narratives
- They counteract the tendency of conventional criticism to foreground character and
motive by foregrounding instead action and structure
- They derive much of their reading pleasure and interest from the affinities between
all narratives, rather than from the uniqueness and originality of a small number of
highla regarded examples

Common questions

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An author might choose to implement both unmimetic (diegetic) and non-linear narrative structures to efficiently convey complex themes and character developments. Unmimetic narratives allow for concise information delivery, essential for pacing and thematic clarity when dealing with extensive narrative content. Non-linear structures, facilitated by analepsis and prolepsis, enable authors to interconnect disparate temporal events, enhancing thematic depth and ambiguity. This combination allows for flexibility in storytelling, inviting the reader to piece together the narrative actively, promoting deeper engagement and reflective interpretation .

Using homodiegetic narrators, who are characters within the story they tell, often affects narrative reliability, as their perspective is inherently subjective and potentially biased. This can create a sense of immediacy and personal intimacy, engaging readers with an internal viewpoint that offers deep insight into the narrator's thoughts and experiences. However, this subjectivity may also lead to questions about the truthfulness and accuracy of the narrative, as the reader must discern what is objective from what is colored by the narrator's personal involvement. This duality enhances engagement by requiring active reader interpretation .

Aristotle's concept of hamartia, which refers to a sin or fault, often due to a fatal character defect known as the tragic flaw, contributes to the development of a narrative's central theme by grounding the plot in the protagonist's moral defects. This constructs a narrative that explores inner events and moral purposes, providing depth and facilitating a turning-around (peripeteia) and recognition (anagnorisis) within the storyline. It creates a rich, psychological landscape where the story's true essence is revealed through the protagonist's actions and realizations .

Propp's analysis of folk tales focuses on structuralism through a set repertoire of 'functions' within tales and categorizing characters into distinct 'spheres of action.' This framework allows any folk tale's plot to be generated by selecting from these functions, with a fixed order that emphasizes structure over content. In contrast, Aristotle's approach is more thematic, concentrating on character and moral development within the narrative plot. He emphasizes character flaws and realizations as pivotal elements that unfold a deeper thematic structure rather than a fixed structural sequence .

Narratologists challenge traditional character-focused criticism by shifting the analytical focus from character and motive to action and narrative structure. They investigate the recurrent structures found within narratives, focusing on the storytelling aspect rather than merely its content. By examining how stories are told—such as narrative techniques, frame narratives, and time manipulation—they emphasize narrative as a construct of interrelated actions rather than isolated character studies. This approach highlights the underlying mechanics of storytelling and its universal patterns, contrasting with conventional criticism's emphasis on character uniqueness .

Frame narratives influence the perception of a primary narrative by providing a contextual bedrock from which the main story emerges. The narrative frame sets up expectations and creates a lens through which the primary narrative is interpreted. A single-ended frame offers a foregone context that shapes the reader's understanding, while a double-ended frame allows for reflection and reevaluation of the primary narrative upon its closure. Intrusive frames disrupt the main narrative, redirecting attention and offering a wider perspective. These structures add layers of meaning, affecting how themes and narrative authenticity are perceived and engaged with by the reader .

Focalization affects a reader's perception of narrative by determining the viewpoint or perspective used to present characters and events. External focalization limits the reader to observable elements outside a character, offering a more detached perspective. Internal focalization allows insight into a character’s thoughts and feelings, fostering deeper emotional connections and understanding. Zero focalization provides an unrestricted, omniscient perspective characteristic of classical narration. Each focalization type influences the reader's engagement level and interpretation, shaping how characters and events are emotionally and contextually understood .

Genette's concepts of mimesis and diegesis significantly influence a reader's experience by altering how narrative time and detail are presented. Mimesis creates a 'showing' experience, immersing the reader in scenic, dramatized moments, enhancing emotional engagement. This method can slow the narrative, allowing readers to feel as though events are unfolding before them. In contrast, diegesis 'tells' or relates events more succinctly, often summarizing to move the narrative along quickly, providing necessary information without the depth of engagement associated with mimesis. The strategic use of both modes in tandem offers a varied reading experience, balancing detailed immersion with overarching narrative progression .

Understanding Propp's functions and spheres of action enhances the creation of a new folk tale by providing a structural framework that underpins plot and character construction. By selecting from Propp's 31 functions, a storyteller can craft narratives that are aligned with traditional structures but allow for innovation and variation. The predefined spheres of action offer roles that characters can assume, facilitating a clear narrative progression that adheres to a tested blueprint. This systematic approach allows for the blending of conventional and novel elements, encouraging creativity within a familiar context while maintaining coherence and traditional appeal .

Temporal manipulation through analepsis and prolepsis plays a crucial role in narrative construction by allowing authors to present stories non-linearly, blending past, present, and future moments. Analepsis, or flashback, enriches a narrative by filling in backstory and context, contributing to depth and character development. Prolepsis, or flashforward, can create suspense and foreshadowing, engaging readers with anticipated outcomes. Strategically, these techniques allow narratives to unfold in medias res, enhancing dramatic tension and complexity by augmenting linear storytelling with layered temporal experiences that drive thematic and emotional arcs forward .

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