Routledge Encyclopedia Of Narrative Theory

Routledge Encyclopedia Of Narrative Theory

éditée par: David Herman, Manfred Jahn, Marie-Laure Ryan

London, Routledge, février 2005.

Présentation de l'éditeur:

The past several decades have seen an explosion of interest in narrative, with this multifaceted object of inquiry becoming a central concern in a wide range of disciplinary fields and research contexts.  The 'narrative turn', as it might be called, gained impetus from the development of structuralist theories of narrative in France in the mid to late 1960s.  Tzvetan Todorov coined the term 'la narratologie' in 1969 to designate what he and other Francophone structuralists (e.g., Roland Barthes, Claude Bremond, Gérard Genette, and A.-J. Greimas) conceived of as a science of narrative modeled after the 'pilot-science' of Saussure's structural linguistics.  Noting that narratives can be presented in a variety of formats and genres, structuralists such as Barthes argued explicitly for a cross-disciplinary approach to the analysis of stories -- an approach in which stories can be viewed as supporting a variety of cognitive and communicative activities, from spontaneous conversations and courtroom testimony to visual art, dance, and mythic and literary traditions.
    In large part, Barthes's call for an interdisciplinary approach to narrative has been answered in the years following the heyday of structuralism.  As accounts of what happened to particular people in particular circumstances and with specific consequences, stories have come to be viewed as a basic human strategy for coming to terms with time, process, and change -- a strategy that contrasts with, but is in no way inferior to, 'scientific' modes of explanation that characterize phenomena as mere instances of general covering laws.  A cognitive schema and discourse type manifested in both literary and non-literary forms of expression, narrative now falls within the purview of many social-scientific, humanistic, and other disciplines, ranging from sociolinguistics, discourse analysis, communication studies, literary theory, and philosophy, to cognitive and social psychology, anthropology, sociology, media studies, artificial intelligence, and the study of organizations.  The result has been an exponential growth of research and teaching activity centering around narrative.  International in scope -- encompassing Continental Europe, Scandinavia, Israel, the United Kingdom, North and South America, and Asian, African, and other nations -- this activity has also spawned interdisciplinary book series (e.g., Frontiers of Narrative, published by the University of Nebraska Press, Studies in Narrative, published by John Benjamins, and Theory and Interpretation of Narrative, published by Ohio State University Press).  Scholarship in the field has given rise, as well, to a number of internationally recognized journals in which articles about narrative figure importantly (e.g., Image (&) Narrative, Journal of Narrative Theory, Language and Literature, Narrative, Narrative Inquiry, New Literary History, Poetics, Poetics Today, Style).  It is therefore symptomatic that, in November, 1999, a symposium on 'Narrative Intelligence' sponsored by the American Association of Artificial Intelligence assembled computer scientists, designers of computer games, philosophers, linguists, and theorists of literary narrative.
    However, the very predominance of narrative as a focus of interest across multiple disciplines makes it imperative for scholars, teachers, and students to have access to a comprehensive reference resource -- one that cuts across disciplinary specializations to provide information about the core concepts, categories, distinctions, and technical nomenclature that have grown up around the study of stories.  The Routledge Encyclopedia of Narrative Theory aims to be just this kind of universal reference tool.  As a comprehensive one-stop resource for students and researchers in the many disciplines drawing on narrative theory and analysis, the Encyclopedia promises to be a milestone in the development of the field and to make its mark on future elaborations and refinements of concepts of narrative.  Thus, while providing ample coverage of structuralist models and features of literary narratives, beyond this the Encyclopedia aims to provide a comprehensive overview of paradigms for analysing stories, in whatever medium narrative happens to be realized.

Readership

The Encyclopedia is designed to be accessible for the student as well as a resource for the researcher.  Entries are written in a manner that is both reader-friendly and technically precise; entries also feature bibliographies that list general as well as more specialized sources for further reading. These lists of references enhance the pedagogical value of the Encyclopedia for students while also making it possible for advanced researchers to turn directly to state-of-the-art scholarship on a given topic.

Structure and Organization

The Encyclopedia follows the standard A-Z format and contains about 450 entries written by experts in the field.  Entries focus on relevant technical terms, concepts, and genres, covering as well the history of the field, various schools/approaches, major theorists, important debates, and the full range of disciplinary contexts in which narrative figures prominently.  
    Entries are divided into the following categories:

• 3000 words:  mini-essays on major topics
• 1000 words:  major concepts
• 500 words:  concepts and terms
• 200 words:  concepts and terms
  

  Entries begin by establishing definitions, setting out relevant facts, and giving brief examples.  They then discuss current problems or debates and, where appropriate, provide a review of the major literature. 
  

  Click here to see a list of all authors who contributed entries to the Encyclopedia.

  Editorial Structure

  The three lead editors are (in alphabetical order) David Herman, Manfred Jahn, and Marie-Laure Ryan.  Following is some biobibliographical information about each coeditor:

  David Herman (http://people.cohums.ohio-state.edu/herman145/) teaches in the Department of English at Ohio State University.  The editor of Narratologies:  New Perspectives on Narrative Theory (1999), Narrative Theory and the Cognitive Sciences (2003), and The Cambridge Companion to Narrative (forthcoming in 2006-2007), he is the author of Universal Grammar and Narrative Form (1995), Story Logic:  Problems and Possibilities of Narrative (2002), Narration in Natural Language (forthcoming, in Czech, in 2005), and over 100 research articles, book chapters, review-essays, and book reviews, most of them centering on narrative-related topics.

  Manfred Jahn (http://www.uni-koeln.de/~ame02/) completed studies of English and German Literature at the University of Cologne and SUNY Buffalo.  He teaches English Literature at the University of Cologne and has published many articles on focalization, represented speech and thought, and cognitive narratology in such venues as the Journal of Pragmatics, Poetics Today, Style, and Narratologies.  His research interests include narratology, focalization theory, theory of drama, artificial intelligence, linguistics and literature, cognition and literature, unreliable narration, and constructivism.

  Marie-Laure Ryan (http://lamar.colostate.edu/~pwryan/indml.htm) is an independent scholar who has published widely in the areas of narrative theory, electronic textuality, and media studies.  Currently the holder of a Guggenheim Fellowship, she is the author of Possible Worlds, Artificial Intelligence and Narrative Theory (1991), Narrative as Virtual Reality:  Immersion and Interactivity in Literature and Electronic Media (2001), and many articles on narrative theory.  Ryan is also the editor of Cyberspace Textuality:  Computer Technology and Literary Theory (1999) and Narrative across Media:  The Languages of Storytelling (2004).

  Furthermore, 15 Consultant Editors assisted in the design and implementation of the volume. The following is a list of the project Consultants, in alphabetical order:
  

  F.R. Ankersmit
  Groningen University
  The Netherlands

  Mieke Bal
  University of Amsterdam
  The Netherlands

  Charles L. Briggs
  University of California, San Diego
  USA

  Monika Fludernik
  Albert-Ludwigs-Universität
  Germany

  Peter Goodrich
  Cardozo School of Law
  USA

  Irene J.F. de Jong
  University of Amsterdam
  The Netherlands

  Sarah Kozloff
  Vassar College
  USA

  Brian McHale
  Ohio State University
  USA

  Ansgar Nünning
  Justus-Liebig-Universität
  Germany

  James Phelan
  Ohio State University
  USA

  Gerald Prince
  University of Pennsylvania
  USA

  Dan Shen
  Peking University
  P. R. China

  Paul Simpson
  Queen's University, Belfast
  Northern Ireland

  Ellen Spolsky
  Bar-Ilan University
  Israel

  Robyn R. Warhol
  University of Vermont
  USA

Liste partielle des entrées :

actant; action theory; adaptation; address; addresserand addressee; adolescent narrative; advertisements; African narrative; agency;allegory; alteration; alterity; anachrony; analepsis; ancient theories ofnarrative (Western); ancient theories of narrative (non-Western); anecdote;animated film; annals; anti-narrative; apology; archetypal patterns; architext;Artificial Intelligence and narrative; atomic and molecular narratives;attributive discourse; audience; Australian Aboriginal narrative;authentication; author; authorial narrative situation; autobiography;autodiegetic narration; autofiction; backstory; ballad; Biblical narrative;Bildungsroman; biography; biological foundations of narrative; blog (weblog);catachresis; catharsis; causality; character; Chicago school; children'sstories (narratives written for children); children's storytelling; Chinesenarrative; chronicle; chronotope; cinéroman; closure; codes for reading;cognitive narratology; coincidence; comics and graphic novel; coming-out story;commentary; communication in narrative; communication studies and narrative;composite novel; computational approaches to narrative; computer games andnarrative; concretisation; confessional narrative; conflict; Constance school;contextualism (in historiography); conversational storytelling; counterfactualhistory; courtroom narrative; cultural-studies approaches to narrative;cyberpunk fiction; dance and narrative; deconstructive approaches to narrative;defamiliarisation; deixis; denarration; description; desire; detective fiction;dialogism; dialogue in the novel; diary; didactic narrative; diegesis; digitalnarrative; discourse analysis (Foucault); discourse analysis (linguistics);disnarrated, the; distance; drama and narrative; dramatic irony; dramaticmonologue; dramatic situations; dream narrative; dual-voice hypothesis;dystopian fiction; eco-narratives; écriture féminine; education and narrative;ekphrasis; embedding; emic and etic; emotion and narrative; emplotment; encyclopedicnovel; epic; epiphany; episode; epistolary novel; ergodic literature; ethicalturn; ethnographic approaches to narrative; events and event-types; evolutionof narrative forms; existent; experiencing-I; experientiality; exposition;extradiegetic narrator; fable; fabula; fairy tale; family chronicle; fantastic,the; fantasy; feminist narratology; fiction, theories of; Figura (Auerbach);figural narration; film narrative; first-person narration; focalization;folklore; folktale; foregrounding; formalism; frame theory; framed narrative;free indirect discourse; frequency; Freytag's triangle; function (Jakobson);function (Propp); gapping; gaze; gender studies; genealogy; genre fiction;genre theory in film studies; genre theory in narrative studies; gesture;gossip; Gothic novel; grand récit; graphic presentation as expressive device;hagiography; hermeneutics; hero; heterodiegetic narration; heteroglossia;historical novel; historical present; historicis; historiographic metafiction;historiographic narratology; historiography; Holocaust narrative; homodiegeticnarration; horizon of expectations; horror narrative; humour studies andnarrative; hybrid genres; hybridity; hypertext; hypertext and hypotext(Genette); hypodiegetic narrative; identity and narrative; ideology andnarrative; image and narrative; immersion; implied author; implied reader; inmedias res; indeterminacy; institutional narrative; intentionality; interactivefiction; interactivity; interdisciplinary approaches to narrative; interiormonologue; intermediality; intertextuality; intradiegetic narrator; irony;isotopy; Japanese narrative; joke; journalism; law and narrative; legalfiction; legend; leitmotif; letters as narrative; life story; linguisticapproaches to narrative; logic of narrative; magical realism; Marxistapproaches to narrative; master narrative; media and narrative; mediacy;medicine and narrative; medieval narrative; memory; mental mapping ofnarrative; metafiction; metahistory; metalepsis; metanarrative comment;metaphor; metonymy; micro-storie; mimesis; mindscreen; mind-style; minimalnarrative; mise en abyme; modality; mode; modernist narrative; molecularnarratives; montage; mood (Genette); motif; multi-path narrative; multi-plotnarrative; music and narrative; myth: thematic approaches; myth: theoreticalapproaches; mytheme; naming in narrative; narratee; narrating (Genette);narrating-I; narration; narrative; narrative as argument; narrative ascognitive instrument; narrative comprehension; narrative disorders; narrative dynamics;narrative explanation; narrative in poetry; narrative intelligence; narrativelevels; narrative progression; narrative psychology; narrative semantics;narrative situations; narrative speed; narrative structure; narrativetechniques; narrative therapy; narrative transformation; narrativetransmission; narrative turn in the humanities; narrative units; narrativeuniversals; narrative versions; narrative, games, and play; narrativisation;narrativity; narrator; Native American narrative; natural narratology;naturalisation; Neo-Aristotelianism; no-narrator theory; nonfiction novel;nouveau roman; novel, the; novella; nursery rhyme; obituary; opera; oralcultures and narrative; oral history; oral-formulaic theory; orality;organisations and narrative; Oulipo; palimpsest; panfictionality; parable;paralepsis and paralipsis; paratext; parody; participatory narrative; pastiche;performance; performativity; person; perspective; phenomenology of narrative;philosophy and narrative; philosophical novel; photographs; picaresque novel;pictorial narrativity; plot; plot types; point; point of attack; point of view(cinematic); point of view (literary); polyphony; pornographic narrative;positioning; possible-worlds theory; postclassical narratology; post-colonialismand narrative; postmodern narrative; postmodern rewrites; poststructuralistapproaches to narrative; pragmatics; prison narrative; prolepsis; prospectivenarration; psychoanalysis and narrative; psychological approaches to narrative;psychological novel; psychonarration; queer theory; Quixotic novel; quotationtheory; radio narrative; reader address; reader constructs; readerly text,writerly text (Barthes); reader-response theory; realeme; realism, theories of;realist novel; reality effect; reception theory; reference; reflector;reflexivity; reliability; remediation; repurposing; retardatory devices;retrospective narration; rhetorical approaches to narrative; riddle;ring-composition; roman à clef; roman à these; romance; romance novel; RussianFormalism; Sanskrit narrative; satiric narrative; scene (cinematic); schemata;science and narrative; science fiction; screenplay; scripts and schemata;secondary orality; second-person narration; semiotics; serial form; sermon;short story; shot; showing versus telling; simple forms; simulation andnarrative; simultaneous narration; situation model; sjuzhet; skaz; slashfiction; slave narrative; soap opera; sociolinguistic approaches to narrative;sociological approaches to literary narrative; sociology and narrative;soundtrack; space in narrative; spatial form; spectacle; speech act theory;speech representation; sports broadcast; story arc; story grammars; storyschemata and causal structure; story-discourse distinction; storyworld; streamof consciousness and interior monologue; structuralist narratology; summary andscene; surfiction; surrealist narrative; suspense and surprise; syllepsis;tabloid narrative; tall tale; Tel Aviv School of narrative poetics; Tel Quel;television; tellability; temporal ordering; tense and narrative; testimonio;text; text-world approach to narrative; thematic approaches to narrative;thematisation; theology and narrative; third-person narration; thought andconsciousness representation (film); thought and consciousness representation(literature); thriller; …