The Cambridge Introduction to Narrative

by
Format: Paperback
Pub. Date: 2002-02-11
Publisher(s): Cambridge Univ Pr
List Price: $29.16

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Summary

The Cambridge Introduction to Narrative is designed to help readers understand what narrative is, how it is constructed, how it acts upon us, how we act upon it, how it is transmitted, and how it changes when the medium or the cultural context change. Porter Abbott emphasises that narrative is found not just in the arts but everywhere in the ordinary course of people's lives. Abbott grounds his treatment of narrative by introducing it as a human phenomenon that is not restricted to literature, film, and theatre, but is found in all activities involving the representation of events in time. At the same time, he honours the fact that out of this common capability have come rich and meaningful narratives that we come back to and reflect on repeatedly in our lives. An indispensable tool for students and teachers alike, this book will guide readers through the fundamental aspects of narrative.

Table of Contents

List of illustrations
x
Preface xi
Acknowledgments xiv
Narrative and life
1(11)
The universality of narrative
1(2)
Narrative and time
3(3)
Narrative perception
6(6)
Defining narrative
12(13)
The bare minimum
12(2)
Story and narrative discourse
14(3)
The mediation (construction) of story
17(3)
Constituent and supplementary events
20(2)
Narrativity
22(3)
The borders of narrative
25(11)
Framing narratives
25(1)
Paratexts
26(1)
The outer limits of narrative
27(4)
Is it narrative or is it life itself?
31(5)
The rhetoric of narrative
36(15)
The rhetoric of narrative
36(1)
Causation
37(3)
Normalization
40(2)
Masterplots
42(4)
Narrative rhetoric at work
46(5)
Closure
51(11)
Conflict: the agon
51(1)
Closure and endings
52(1)
Closure, suspense, and surprise
53(1)
Closure at the level of expectations
54(2)
Closure at the level of questions
56(1)
The absence of closure
57(5)
Narration
62(14)
A few words on interpretation
62(1)
The narrator
63(1)
Voice
64(2)
Focalization
66(1)
Distance
67(2)
Reliability
69(1)
Free indirect style
70(2)
Narration on stage and screen
72(4)
Interpreting narrative
76(17)
The implied author
77(2)
Underreading
79(3)
Overreading
82(1)
Gaps
83(2)
Cruxes
85(3)
Repetition: themes and motifs
88(5)
Three ways to intrpret narrative
93(12)
The question of wholeness in narrative
93(2)
Intentional readings
95(2)
Symptomatic readings
97(3)
Adaptive readings
100(5)
Adaptation across media
105(18)
Adaptation as creative destruction
105(2)
Duration and pace
107(2)
Character
109(2)
Figurative language
111(3)
Gaps
114(1)
Focalization
115(3)
Constraints of the marketplace
118(5)
Character and self in narrative
123(15)
Character vs. action
123(3)
Flat and round characters
126(1)
Can characters be real?
127(2)
Types
129(2)
Autobiography
131(3)
Life writing as performative
134(4)
Narrative contestation
138(18)
A contest of narratives
138(4)
A narrative lattice-work
142(2)
Shadow stories
144(2)
Motivation and personality
146(2)
Masterplots and types
148(2)
Revising cultural masterplots
150(2)
Battling narratives are everywhere
152(4)
Narrative negotiation
156(20)
Narrative negotiation
157(5)
Critical reading as narrative negotiation
162(6)
Closure, one more time
168(3)
The end of closure?
171(5)
Notes 176(7)
Bibliography 183(4)
Glossary and topical index 187(11)
Index of authors and narratives 198

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