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Home / Explain the Impact the Shared Cultural Trait of Art Is Having on Europe

Explain the Impact the Shared Cultural Trait of Art Is Having on Europe

Business relationship that presents connected events

A narrative, story or tale is any account of a serial of related events or experiences,[i] whether nonfictional (memoir, biography, news report, documentary, travelogue, etc.) or fictional (fairy tale, fable, legend, thriller, novel, etc.).[2] [three] [4] Narratives can exist presented through a sequence of written or spoken words, still or moving images, or whatever combination of these. The discussion derives from the Latin verb narrare (to tell), which is derived from the adjective gnarus (knowing or skilled).[5] [half dozen] Along with argumentation, description, and exposition, narration, broadly divers, is one of iv rhetorical modes of discourse. More narrowly defined, information technology is the fiction-writing manner in which the narrator communicates directly to the reader. The school of literary criticism known as Russian formalism has applied methods used to analyse narrative fiction to non-fictional texts such as political speeches.[7]

Oral storytelling is the earliest method for sharing narratives.[8] During near people's childhoods, narratives are used to guide them on proper behavior, cultural history, formation of a communal identity and values, as especially studied in anthropology today among traditional ethnic peoples.[9]

Narrative is found in all forms of man inventiveness, art, and entertainment, including spoken language, literature, theater, music and song, comics, journalism, movie, television set and video, video games, radio, game-play, unstructured recreation and operation in full general, likewise as some painting, sculpture, drawing, photography and other visual arts, equally long as a sequence of events is presented. Several art movements, such equally modern fine art, refuse the narrative in favor of the abstract and conceptual.

Narrative can be organized into a number of thematic or formal categories: nonfiction (such every bit artistic non-fiction, biography, journalism, transcript poetry and historiography); fictionalization of historical events (such as anecdote, myth, legend and historical fiction) and fiction proper (such as literature in the form of prose and sometimes poetry, brusque stories, novels, narrative poems and songs, and imaginary narratives as portrayed in other textual forms, games or live or recorded performances). Narratives may also be nested within other narratives, such as narratives told past an unreliable narrator (a character) typically establish in the genre of noir fiction. An important function of narration is the narrative mode, the set of methods used to communicate the narrative through a process of narration (run across also "Aesthetics arroyo" below).

Overview [edit]

A narrative is a telling of some true or fictitious event or continued sequence of events, recounted by a narrator to a narratee (although there may be more than i of each). A personal narrative is a prose narrative relating personal experience. Narratives are to be distinguished from descriptions of qualities, states, or situations, and also from dramatic enactments of events (although a dramatic piece of work may also include narrative speeches). A narrative consists of a prepare of events (the story) recounted in a process of narration (or soapbox), in which the events are selected and arranged in a item order (the plot, which can also mean "story synopsis"). The term "emplotment" describes how, when making sense of personal experience, people construction and lodge personal narratives.[ten] The category of narratives includes both the shortest accounts of events (for example, the cat sat on the mat, or a brief news item) and the longest historical or biographical works, diaries, travelogues, and then forth, every bit well equally novels, ballads, epics, short stories, and other fictional forms. In the study of fiction, it is usual to divide novels and shorter stories into first-person narratives and third-person narratives. As an adjective, "narrative" ways "characterized by or relating to storytelling": thus narrative technique is the method of telling stories, and narrative verse is the form of poems (including ballads, epics, and verse romances) that tell stories, as singled-out from dramatic and lyric poetry. Some theorists of narratology have attempted to isolate the quality or set of backdrop that distinguishes narrative from non-narrative writings: this is chosen narrativity.[11]

History [edit]

In India, archaeological evidence of the presence of stories is institute at the Indus valley civilization site, Lothal. On one large vessel, the artist depicts birds with fish in their beaks resting in a tree, while a flim-flam-similar beast stands below. This scene bears resemblance to the story of The Fox and the Crow in the Panchatantra. On a miniature jar, the story of the thirsty crow and deer is depicted, of how the deer could non drink from the narrow-rima oris of the jar, while the crow succeeded by dropping stones into the jar. The features of the animals are clear and graceful.[12] [13]

Human nature [edit]

Owen Flanagan of Duke University, a leading consciousness researcher, writes, "Evidence strongly suggests that humans in all cultures come to cast their own identity in some sort of narrative form. We are inveterate storytellers."[14] Stories are an of import aspect of culture. Many works of fine art and well-nigh works of literature tell stories; indeed, about of the humanities involve stories.[fifteen] Stories are of ancient origin, existing in ancient Egyptian, ancient Greek, Chinese and Indian cultures and their myths. Stories are also a ubiquitous component of homo communication, used as parables and examples to illustrate points. Storytelling was probably one of the earliest forms of entertainment. As noted past Owen Flanagan, narrative may also refer to psychological processes in self-identity, retention and meaning-making.

Semiotics begins with the individual building blocks of significant called signs; semantics is the way in which signs are combined into codes to transmit messages. This is part of a general communication system using both verbal and not-verbal elements, and creating a discourse with unlike modalities and forms.

In On Realism in Art, Roman Jakobson attests that literature exists as a split up entity. He and many other semioticians prefer the view that all texts, whether spoken or written, are the same, except that some authors encode their texts with distinctive literary qualities that distinguish them from other forms of discourse. Withal, in that location is a articulate trend to address literary narrative forms as separable from other forms. This is get-go seen in Russian Ceremonial through Victor Shklovsky's analysis of the relationship between limerick and style, and in the work of Vladimir Propp, who analyzed the plots used in traditional folk-tales and identified 31 distinct functional components.[sixteen] This trend (or these trends) continued in the work of the Prague School and of French scholars such equally Claude Lévi-Strauss and Roland Barthes. It leads to a structural analysis of narrative and an increasingly influential body of modernistic work that raises important theoretical questions:

  • What is text?
  • What is its function (culture)?
  • How is it manifested as art, cinema, theater, or literature?
  • Why is narrative divided into dissimilar genres, such every bit poetry, short stories, and novels?

Literary theory [edit]

In literary theoretic approach, narrative is being narrowly defined equally fiction-writing mode in which the narrator is communicating direct to the reader. Until the late 19th century, literary criticism as an academic exercise dealt solely with verse (including epic poems like the Iliad and Paradise Lost, and poetic drama similar Shakespeare). Nigh poems did not accept a narrator distinct from the author.

But novels, lending a number of voices to several characters in add-on to narrator's, created a possibility of narrator'south views differing significantly from the writer'due south views. With the rise of the novel in the 18th century, the concept of the narrator (as opposed to "author") fabricated the question of narrator a prominent one for literary theory. It has been proposed that perspective and interpretive knowledge are the essential characteristics, while focalization and structure are lateral characteristics of the narrator.[ according to whom? ]

The function of literary theory in narrative has been disputed; with some interpretations like Todorov'south narrative model that views all narratives in a cyclical way, and that each narrative is characterized past a three part construction that allows the narrative to progress. The start stage existence an establishment of equilibrium—a land of non conflict, followed by a disruption to this state, caused by an external issue, and lastly a restoration or a render to equilibrium—a determination that brings the narrative dorsum to a like space before the events of the narrative unfolded.[17]

Other critiques of literary theory in narrative claiming the very role of literariness in narrative, besides equally the office of narrative in literature. Pregnant, narratives and their associated aesthetics, emotions, and values take the ability to operate without the presence of literature and vice versa. According to Didier Costa, the structural model used by Todorov and others is unfairly biased towards a Western interpretation of narrative, and that a more comprehensive and transformative model must be created in lodge to properly analyze narrative discourse in literature.[18] Framing too plays a pivotal role in narrative structure; an analysis of the historical and cultural contexts nowadays during the development of a narrative is needed in order to more accurately stand for the office of narratology in societies that relied heavily on oral narratives.

Types of narrators and their modes [edit]

A writer's option in the narrator is crucial for the way a work of fiction is perceived by the reader. At that place is a stardom between first-person and third-person narrative, which Gérard Genette refers to as intradiegetic and extradiegetic narrative, respectively. Intradiegetic narrators are of two types: a homodiegetic narrator participates as a character in the story. Such a narrator cannot know more about other characters than what their actions reveal. A heterodiegetic narrator, in contrast, describes the experiences of the characters that appear in the story in which he or she does not participate.

Nearly narrators present their story from one of the following perspectives (called narrative modes): first-person, or third-person limited or omniscient. Mostly, a first-person narrator brings greater focus on the feelings, opinions, and perceptions of a detail character in a story, and on how the character views the world and the views of other characters. If the writer'southward intention is to get inside the globe of a grapheme, then information technology is a skillful choice, although a tertiary-person limited narrator is an alternative that does not require the writer to reveal all that a first-person graphic symbol would know. By contrast, a third-person omniscient narrator gives a panoramic view of the world of the story, looking into many characters and into the broader background of a story. A 3rd-person omniscient narrator tin can be an animal or an object, or it can be a more abstract instance that does not refer to itself. For stories in which the context and the views of many characters are important, a tertiary-person narrator is a amend choice. Even so, a third-person narrator does not demand to be an omnipresent guide, merely instead may merely exist the protagonist referring to himself in the 3rd person (likewise known every bit third person limited narrator).

Multiple narrators [edit]

A writer may choose to let several narrators tell the story from unlike points of view. So it is up to the reader to decide which narrator seems near reliable for each function of the story. It may refer to the manner of the author in which he/she expresses the paragraph written. See for instance the works of Louise Erdrich. William Faulkner'south As I Lay Dying is a prime example of the use of multiple narrators. Faulkner employs stream of consciousness to narrate the story from various perspectives.

In Indigenous American communities, narratives and storytelling are often told by a number of elders in the community. In this mode, the stories are never static because they are shaped by the human relationship between narrator and audience. Thus, each individual story may have countless variations. Narrators oftentimes incorporate minor changes in the story in order to tailor the story to unlike audiences.[19]

The use of multiple narratives in a story is not simply a stylistic choice, but rather an interpretive one that offers insight into the development of a larger social identity and the impact that has on the overarching narrative, as explained by Lee Haring.[20] Haring analyzes the use of framing in oral narratives, and how the usage of multiple perspectives provides the audition with a greater historical and cultural groundwork of the narrative. She also argues that narratives (particularly myths and folktales) that implement multiple narrators deserves to be categorized every bit its own narrative genre, rather than just a narrative device that is used solely to explicate phenomena from different points of view.

Haring provides an case from the Arabic folktales of A Thousand and One Nights to illustrate how framing was used to loosely connect each story to the side by side, where each story was enclosed within the larger narrative. Additionally, Haring draws comparisons between G and One Nights and the oral storytelling observed in parts of rural Ireland, islands of the Southwest Indian Ocean, and African cultures such as Madagascar.

"I'll tell you what I'll do," said the smith. "I'll fix your sword for you tomorrow, if you tell me a story while I'grand doing information technology." The speaker was an Irish storyteller in 1935, framing one story in another (O'Sullivan 75, 264). The moment recalls the Grand and 1 Nights , where the story of "The Envier and the Envied" is enclosed in the larger story told by the Second Kalandar (Burton one : 113-39), and many stories are enclosed in others."[20]

Aesthetics approach [edit]

Narrative is a highly aesthetic fine art. Thoughtfully composed stories accept a number of aesthetic elements. Such elements include the idea of narrative structure, with identifiable beginnings, middles and ends, or exposition-development-climax-denouement, with coherent plot lines; a potent focus on temporality including retentivity of the past, attention to present action and protention/future anticipation; a substantial focus on grapheme and characterization, "arguably the virtually important single component of the novel" (David Club The Art of Fiction 67); different voices interacting, "the audio of the human vocalisation, or many voices, speaking in a diverseness of accents, rhythms and registers" (Lodge The Fine art of Fiction 97; see also the theory of Mikhail Bakhtin for expansion of this idea); a narrator or narrator-like vocalisation, which "addresses" and "interacts with" reading audiences (see Reader Response theory); communicates with a Wayne Booth-esque rhetorical thrust, a dialectic procedure of interpretation, which is at times beneath the surface, forming a plotted narrative, and at other times much more visible, "arguing" for and against various positions; relies essentially on the use of literary tropes (encounter Hayden White, Metahistory for expansion of this idea); is oft intertextual with other literatures; and normally demonstrates an effort toward bildungsroman, a description of identity development with an effort to evince condign in character and community.[ jargon explanation needed ]

Psychological approach [edit]

Inside philosophy of heed, the social sciences and various clinical fields including medicine, narrative can refer to aspects of human psychology.[21] A personal narrative process is involved in a person's sense of personal or cultural identity, and in the creation and structure of memories; information technology is idea by some to exist the fundamental nature of the self.[22] [23] The breakdown of a coherent or positive narrative has been implicated in the development of psychosis and mental disorders, and its repair said to play an important function in journeys of recovery.[24] [25] Narrative therapy is a grade of psychotherapy.

Disease narratives are a manner for a person affected by an affliction to make sense of his or her experiences.[26] They typically follow one of several set patterns: restitution, chaos, or quest narratives. In the restitution narrative, the person sees the disease as a temporary detour. The principal goal is to return permanently to normal life and normal health. These may as well be chosen cure narratives. In the anarchy narrative, the person sees the illness as a permanent state that volition inexorably get worse, with no redeeming virtues. This is typical of diseases similar Alzheimer'south disease: the patient gets worse and worse, and there is no hope of returning to normal life. The third major type, the quest narrative, positions the disease experience equally an opportunity to transform oneself into a meliorate person through overcoming adversity and re-learning what is most of import in life; the physical outcome of the disease is less important than the spiritual and psychological transformation. This is typical of the triumphant view of cancer survivorship in the breast cancer culture.[26]

Personality traits, more specifically the Big Five personality traits, announced to be associated with the type of language or patterns of give-and-take employ establish in an individual's cocky-narrative.[27] In other words, language use in self-narratives accurately reflects human personality. The linguistic correlates of each Big 5 trait are equally follows:

  • Extraversion - positively correlated with words referring to humans, social processes and family;
  • Agreeableness - positively correlated with family, inclusiveness and certainty; negatively correlated with anger and torso (that is, few negative comments about health/torso);
  • Conscientiousness - positively correlated with achievement and work; negatively related to body, death, anger and exclusiveness;
  • Neuroticism - positively correlated with sadness, negative emotion, body, acrimony, home and anxiety; negatively correlated with work;
  • Openness - positively correlated with perceptual processes, hearing and exclusiveness

[edit]

Human beings often claim to empathise events when they manage to formulate a coherent story or narrative explaining how they believe the outcome was generated. Narratives thus prevarication at the foundations of our cognitive procedures and also provide an explanatory framework for the social sciences, especially when it is difficult to assemble enough cases to permit statistical analysis. Narrative is frequently used in case written report research in the social sciences. Hither it has been plant that the dense, contextual, and interpenetrating nature of social forces uncovered by detailed narratives is frequently more interesting and useful for both social theory and social policy than other forms of social research. Research using narrative methods in the social sciences has been described as still being in its infancy[28] simply this perspective has several advantages such as access to an existing, rich vocabulary of analytical terms: plot, genre, subtext, epic, hero/heroine, story arc (e.one thousand. commencement-heart-cease), and so on. Another benefit is it emphasizes that even apparently not-fictional documents (speeches, policies, legislation) are still fictions, in the sense they are authored and usually have an intended audience in mind.

Sociologists Jaber F. Gubrium and James A. Holstein have contributed to the formation of a constructionist approach to narrative in sociology. From their volume The Self We Live By: Narrative Identity in a Postmodern World (2000), to more recent texts such as Analyzing Narrative Reality (2009) and Varieties of Narrative Analysis (2012), they have developed an analytic framework for researching stories and storytelling that is centered on the interplay of institutional discourses (big stories) on the one hand, and everyday accounts (little stories) on the other. The goal is the sociological understanding of formal and lived texts of experience, featuring the production, practices, and communication of accounts.

Inquiry approach [edit]

In guild to avoid "hardened stories," or "narratives that become context-free, portable and set to be used anywhere and anytime for illustrative purposes" and are existence used as conceptual metaphors as defined past linguist George Lakoff, an approach chosen narrative inquiry was proposed, resting on the epistemological supposition that human beings brand sense of random or complex multicausal experience by the imposition of story structures.[29] [30] Man propensity to simplify data through a predilection for narratives over complex data sets can pb to the narrative fallacy. It is easier for the homo mind to remember and make decisions on the basis of stories with pregnant, than to remember strings of data. This is one reason why narratives are and then powerful and why many of the classics in the humanities and social sciences are written in the narrative format. Merely humans tin read meaning into information and compose stories, even where this is unwarranted. Some scholars suggest that the narrative fallacy and other biases tin can exist avoided past applying standard methodical checks for validity (statistics) and reliability (statistics) in terms of how data (narratives) are collected, analyzed, and presented.[31] More typically, scholars working with narrative prefer to use other evaluative criteria (such as believability or perhaps interpretive validity[32]) since they do non see statistical validity as meaningfully applicable to qualitative data: "the concepts of validity and reliability, as understood from the positivist perspective, are somehow inappropriate and inadequate when practical to interpretive inquiry".[33] Several criteria for assessing the validity of narrative research was proposed, including the objective aspect, the emotional aspect, the social/moral attribute, and the clarity of the story.

Mathematical-sociology arroyo [edit]

In mathematical sociology, the theory of comparative narratives was devised in club to draw and compare the structures (expressed equally "and" in a directed graph where multiple causal links incident into a node are conjoined) of activity-driven sequential events.[34] [35] [36]

Narratives so conceived comprise the following ingredients:

  • A finite prepare of state descriptions of the world South, the components of which are weakly ordered in time;
  • A finite prepare of actors/agents (individual or collective), P;
  • A finite set of actions A;
  • A mapping of P onto A;

The structure (directed graph) is generated past letting the nodes stand for the states and the directed edges represent how us are inverse by specified actions. The activeness skeleton tin can so exist abstracted, comprising a further digraph where the actions are depicted as nodes and edges take the course "action a co-determined (in context of other actions) activeness b".

Narratives can be both abstracted and generalised past imposing an algebra upon their structures and thence defining homomorphism between the algebras. The insertion of activity-driven causal links in a narrative can exist achieved using the method of Bayesian narratives.

Bayesian narratives [edit]

Developed past Peter Abell, the theory of Bayesian Narratives conceives a narrative as a directed graph comprising multiple causal links (social interactions) of the general form: "action a causes action b in a specified context". In the absence of sufficient comparative cases to enable statistical treatment of the causal links, items of bear witness in back up and confronting a particular causal link are assembled and used to compute the Bayesian likelihood ratio of the link. Subjective causal statements of the form "I did b because of a" and subjective counterfactuals "if it had not been for a I would not have washed b" are notable items of prove.[36] [37] [38]

In music [edit]

Linearity is one of several narrative qualities that tin be found in a musical limerick.[39] As noted by American musicologist, Edward Cone, narrative terms are also present in the belittling language near music.[40] The unlike components of a fugue — discipline, answer, exposition, discussion and summary — can be cited as an example.[41] Withal, there are several views on the concept of narrative in music and the role it plays. 1 theory is that of Theodore Adorno, who has suggested that "music recites itself, is its own context, narrates without narrative".[41] Another, is that of Carolyn Abbate, who has suggested that "certain gestures experienced in music constitute a narrating vocalization".[40] Nevertheless others have argued that narrative is a semiotic enterprise that can enrich musical analysis.[41] The French musicologist Jean-Jacques Nattiez contends that "the narrative, strictly speaking, is not in the music, simply in the plot imagined and constructed by the listeners".[42] He argues that discussing music in terms of narrativity is only metaphorical and that the "imagined plot" may be influenced by the piece of work's title or other programmatic data provided past the composer.[42] However, Abbate has revealed numerous examples of musical devices that office every bit narrative voices, by limiting music's ability to narrate to rare "moments that can be identified by their bizarre and disruptive upshot".[42] Diverse theorists share this view of narrative actualization in disruptive rather than normative moments in music. The final discussion is yet to be said, regarding narratives in music, as in that location is still much to be determined.

In pic [edit]

Unlike most forms of narratives that are inherently language based (whether that exist narratives presented in literature or orally), picture show narratives face additional challenges in creating a cohesive narrative. Whereas the general assumption in literary theory is that a narrator must be present in club to develop a narrative, as Schmid proposes;[43] the act of an author writing his or her words in text is what communicates to the audition (in this instance readers) the narrative of the text, and the author represents an act of narrative communication between the textual narrator and the narratee. This is in line with Fludernik's perspective on what's chosen cognitive narratology—which states that a literary text has the ability to manifest itself into an imagined, representational illusion that the reader volition create for themselves, and can vary profoundly from reader to reader.[44] In other words, the scenarios of a literary text (referring to settings, frames, schemes, etc.) are going to be represented differently for each individual reader based on a multiplicity of factors, including the reader's own personal life experiences that allow them to comprehend the literary text in a distinct manner from anyone else.

Film narrative does not have the luxury of having a textual narrator that guides its audition towards a formative narrative; nor does it take the ability to allow its audition to visually manifest the contents of its narrative in a unique fashion similar literature does. Instead, film narratives utilize visual and auditory devices in substitution for a narrative subject; these devices include cinematography, editing, sound design (both diegetic and non-diegetic sound), as well as the arrangement and decisions on how and where the subjects are located onscreen—known equally mise-en-scène. These cinematic devices, amid others, contribute to the unique blend of visual and auditory storytelling that culminates to what Jose Landa refers to every bit a "visual narrative case".[45] And dissimilar narratives found in other performance arts such as plays and musicals, motion-picture show narratives are not leap to a specific place and time, and are non limited by scene transitions in plays, which are restricted by fix design and allotted time.

In mythology [edit]

The nature or existence of a formative narrative in many of the globe's myths, folktales, and legends has been a topic of contend for many modernistic scholars; but the most common consensus among academics is that throughout nigh cultures, traditional mythologies and folklore tales are constructed and retold with a specific narrative purpose that serves to offer a society an understandable explanation of natural phenomena—oftentimes absent-minded of a verifiable writer. These explanatory tales manifest themselves in diverse forms and serve dissimilar societal functions, including life lessons for individuals to learn from (for example, the Ancient Greek tale of Icarus refusing to listen to his elders and flying too close to the sun), explaining forces of nature or other natural phenomena (for example, the inundation myth that spans cultures all over the world),[46] and providing an agreement of human nature, as exemplified by the myth of Cupid and Psyche.[47]

Considering how mythologies have historically been transmitted and passed down through oral retellings, there is no qualitative or reliable method to precisely trace exactly where and when a tale originated; and since myths are rooted in a remote past, and are viewed equally a factual account of happenings inside the civilisation it originated from, the worldview present in many oral mythologies is from a cosmological perspective—one that is told from a voice that has no physical apotheosis, and is passed down and modified from generation to generation.[48] This cosmological worldview in myth is what provides all mythological narratives credence, and since they are easily communicated and modified through oral tradition amongst various cultures, they assistance solidify the cultural identity of a civilization and contribute to the notion of a commonage human consciousness that continues to assist shape one's own understanding of the earth.[49]

Myth is often used in an overarching sense to describe a multitude of folklore genres, but in that location is a significance in distinguishing the various forms of folklore in order to properly make up one's mind what narratives plant as mythological, as anthropologist Sir James Frazer suggests. Frazer contends that there are 3 principal categories of mythology (at present more broadly considered categories of folklore): Myths, legends, and folktales, and that by definition, each genre pulls its narrative from a different ontological source, and therefore has dissimilar implications within a civilization. Frazer states:

"If these definitions be accepted, nosotros may say that myth has its source in reason, legend in memory, and folk-tale in imagination; and that the three riper products of the human mind which correspond to these its crude creations are scientific discipline, history, and romance."[fifty]

Janet Bacon expanded upon Frazer's categorization in her 1921 publication—The Voyage of The Argonauts.[51]

  1. Myth – Co-ordinate to Janet Bacon's 1921 publication, "Myth has an explanatory intention. It explains some natural miracle whose causes are not obvious, or some ritual practice whose origin has been forgotten." Bacon views myths as narratives that serve a practical societal office of providing a satisfactory explanation for many of humanity's greatest questions. Those questions accost topics such as astronomical events, historical circumstances, environmental phenomena, and a range of human experiences including love, anger, greed, and isolation.
  2. Fable – Co-ordinate to Bacon, "Legend, on the other hand, is true tradition founded on the fortunes of real people or on adventures at real places. Agamemnon, Lycurgus, Coriolanus, King Arthur, Saladin, are existent people whose fame and the legends which spread it have go world-wide." Legends are mythical figures whose accomplishments and accolades live beyond their own mortality and transcend to the realm of myth by way of verbal communication through the ages. Like myth, they are rooted in the by, simply unlike the sacred ephemeral infinite in which myths occur, legends are often individuals of man flesh that lived here on world long ago, and are believed as fact. In American folklore, the tale of Davy Crocket or debatably Paul Bunyan can be considered legends—they were real people who lived in the world, just through the years of regional folktales take assumed a mythological quality.
  3. Folktale – Bacon classifies folktale every bit such, "Folk-tale, withal, calls for no belief, being wholly the product of the imagination. In far distant ages some inventive story-teller was pleased to pass an idle hour with stories told of many-a-feat." Salary's definition assumes that folktales do not possess the aforementioned underlying factualness that myths and legends tend to have. While folktales still hold a considerable cultural value, they are simply non regarded equally truthful within a culture. Bacon says, like myths, folktales are imagined and created past someone at some point, simply differ in that folktales' primary purpose is to entertain; and that like legends, folktales may possess some element of truth in their original conception, but lack any form of brownie found in legends.

Structure [edit]

In the absence of a known author or original narrator, myth narratives are oftentimes referred to as prose narratives. Prose narratives tend to be relatively linear regarding the time period they occur in, and are traditionally marked by its natural flow of speech as opposed to the rhythmic structure found in various forms of literature such as poesy and Haikus. The structure of prose narratives allows information technology to be hands understood by many—every bit the narrative generally starts at the beginning of the story, and ends when the protagonist has resolved the conflict. These kinds of narratives are more often than not accepted as true within society, and are told from a place of great reverence and sacredness. Myths are believed to occur in a remote by—one that is before the creation or establishment of the civilization they derive from, and are intended to provide an account for things such every bit humanity'south origins, natural phenomenon, and man nature.[52] Thematically, myths seek to provide data about oneself, and many are viewed as among some of the oldest forms of prose narratives, which grants traditional myths their life-defining characteristics that go on to exist communicated today.

Some other theory regarding the purpose and function of mythological narratives derives from 20th Century philologist Georges Dumézil and his formative theory of the "trifunctionalism" found in Indo-European mythologies.[53] Dumèzil refers only to the myths found in Indo-European societies, just the master assertion fabricated by his theory is that Indo-European life was structured effectually the notion of 3 distinct and necessary societal functions, and every bit a result, the various gods and goddesses in Indo-European mythology assumed these functions as well. The three functions were organized by cultural significance, with the first function being the most 1000 and sacred. For Dumèzil, these functions were then vital, they manifested themselves in every attribute of life and were at the middle of everyday life.[53]

These "functions", equally Dumèzil puts information technology, were an array of esoteric knowledge and wisdom that was reflected past the mythology. The outset function was sovereignty—and was divided into two additional categories: magical and juridical. As each office in Dumèzil'south theory corresponded to a designated social grade in the human realm; the showtime function was the highest, and was reserved for the condition of kings and other royalty. In an interview with Alain Benoist, Dumèzil described magical sovereignty as such,

"[Magical Sovereignty] consists of the mysterious administration, the 'magic' of the universe, the general ordering of the creation. This is a 'disquieting' aspect, terrifying from sure perspectives. The other attribute is more reassuring, more oriented to the human world. It is the 'juridical' function of the sovereign function."[54]

This implies that gods of the get-go function are responsible for the overall structure and order of the universe, and those gods who possess juridical sovereignty are more closely connected to the realm of humans and are responsible for the concept of justice and lodge. Dumèzil uses the pantheon of Norse gods as examples of these functions in his 1981 essay—he finds that the Norse gods Odin and Tyr reflect the different brands of sovereignty. Odin is the author of the cosmos, and owner of infinite esoteric cognition—going and then far as to sacrifice his eye for the aggregating of more than knowledge. While Tyr—seen as the "but god"—is more concerned with upholding justice, as illustrated past the epic myth of Tyr losing his manus in commutation for the monster Fenrir to end his terrorization of the gods. Dumèzil's theory suggests that through these myths, concepts of universal wisdom and justice were able to be communicated to the Nordic people in the grade of a mythological narrative.[55]

The second function as described by Dumèzil is that of the proverbial hero, or champion. These myths functioned to convey the themes of heroism, strength, and bravery and were most often represented in both the human world and the mythological world by valiant warriors. While the gods of the 2d function were nonetheless revered in society, they did non possess the same infinite knowledge found in the first category. A Norse god that would fall under the second office would be Thor—god of thunder. Thor possessed great force, and was often first into battle, every bit ordered past his male parent Odin. This second function reflects Indo-European cultures' high regard for the warrior form, and explains the belief in an afterlife that rewards a valiant decease on the battlefield; for the Norse mythology, this is represented past Valhalla.

Lastly, Dumèzil's third office is composed of gods that reflect the nature and values of the nearly common people in Indo-European life. These gods often presided over the realms of healing, prosperity, fertility, wealth, luxury, and youth—whatsoever kind of office that was easily related to past the common peasant farmer in a order. Only as a farmer would live and sustain themselves off their land, the gods of the third function were responsible for the prosperity of their crops, and were too in charge of other forms of everyday life that would never be observed past the status of kings and warriors, such as mischievousness and promiscuity. An example found in Norse mythology could be seen through the god Freyr—a god who was closely continued to acts of debauchery and overindulging.

Dumèzil viewed his theory of trifunctionalism as distinct from other mythological theories considering of the manner the narratives of Indo-European mythology permeated into every aspect of life within these societies, to the point that the societal view of expiry shifted abroad from a primal perception that tells one to fear death, and instead decease became seen as the penultimate human action of heroism—by solidifying a person'south position in the hall of the gods when they pass from this realm to the next. Additionally, Dumèzil proposed that his theory stood at the foundation of the modern agreement of the Christian Trinity, citing that the 3 key deities of Odin, Thor, and Freyr were often depicted together in a trio—seen by many as an overarching representation of what would be known today as "divinity".[53]

In cultural storytelling [edit]

A narrative can accept on the shape of a story, which gives listeners an entertaining and collaborative avenue for acquiring knowledge. Many cultures employ storytelling as a way to record histories, myths, and values. These stories can be seen as living entities of narrative among cultural communities, as they bear the shared experience and history of the civilization within them. Stories are frequently used within ethnic cultures in order to share knowledge to the younger generation.[56] Due to ethnic narratives leaving room for open-concluded interpretation, native stories often appoint children in the storytelling procedure so that they can make their ain pregnant and explanations within the story. This promotes holistic thinking amid native children, which works towards merging an private and world identity. Such an identity upholds native epistemology and gives children a sense of belonging every bit their cultural identity develops through the sharing and passing on of stories.[57]

For example, a number of indigenous stories are used to illustrate a value or lesson. In the Western Apache tribe, stories can be used to warn of the misfortune that befalls people when they practice non follow acceptable behavior. 1 story speaks to the criminal offence of a mother's meddling in her married son'due south life. In the story, the Western Apache tribe is nether attack from a neighboring tribe, the Pimas. The Apache mother hears a scream. Thinking it is her son'south wife screaming, she tries to arbitrate by yelling at him. This alerts the Pima tribe to her location, and she is promptly killed due to intervening in her son's life.[58]

Indigenous American cultures use storytelling to teach children the values and lessons of life. Although storytelling provides entertainment, its master purpose is to educate.[59] Alaskan Indigenous Natives state that narratives teach children where they fit in, what their society expects of them, how to create a peaceful living environment, and to be responsible, worthy members of their communities.[59] In the Mexican civilisation, many adult figures tell their children stories in club to teach children values such as individuality, obedience, honesty, trust, and pity.[lx] For instance, one of the versions of La Llorona is used to teach children to make safe decisions at night and to maintain the morals of the customs.[sixty]

Narratives are considered by the Canadian Métis community, to assist children understand that the earth around them is interconnected to their lives and communities.[61] For example, the Métis community share the "Humorous Equus caballus Story" to children, which portrays that horses stumble throughout life only like humans exercise.[61] Navajo stories as well apply dead animals as metaphors by showing that all things accept purpose.[62] Lastly, elders from Alaskan Native communities claim that the use of animals as metaphors permit children to form their ain perspectives while at the aforementioned fourth dimension self-reflecting on their own lives.[61]

American Indian elders also state that storytelling invites the listeners, especially children, to draw their own conclusions and perspectives while self-reflecting upon their lives.[59] Furthermore, they insist that narratives help children grasp and obtain a wide range of perspectives that aid them interpret their lives in the context of the story. American Indian community members emphasize to children that the method of obtaining cognition tin be found in stories passed down through each generation. Moreover, customs members as well allow the children interpret and build a different perspective of each story.[59]

In the military field [edit]

An emerging field of data warfare is the "boxing of the narratives". The battle of the narratives is a full-diddled boxing in the cognitive dimension of the data environment, only every bit traditional warfare is fought in the physical domains (air, land, sea, space, and cyberspace). I of the foundational struggles in warfare in the concrete domains is to shape the environment such that the contest of arms volition exist fought on terms that are to one's advantage. Also, a key component of the battle of the narratives is to succeed in establishing the reasons for and potential outcomes of the conflict, on terms favorable to 1's efforts.[63]

Historiography [edit]

In historiography, according to Lawrence Stone, narrative has traditionally been the principal rhetorical device used by historians. In 1979, at a fourth dimension when the new social history was demanding a social-science model of analysis, Rock detected a move dorsum toward the narrative. Stone defined narrative as organized chronologically; focused on a single coherent story; descriptive rather than analytical; concerned with people non abstract circumstances; and dealing with the particular and specific rather than the commonage and statistical. He reported that, "More than and more of the 'new historians' are now trying to discover what was going on inside people's heads in the by, and what it was like to alive in the past, questions which inevitably lead back to the employ of narrative."[64]

Some philosophers identify narratives with a type of caption. Mark Bevir argues, for example, that narratives explain actions by appealing to the beliefs and desires of actors and by locating webs of beliefs in the context of historical traditions. Narrative is an alternative class of explanation to that associated with natural science.

Historians committed to a social science arroyo, however, accept criticized the narrowness of narrative and its preference for anecdote over analysis, and clever examples rather than statistical regularities.[65]

Storytelling rights [edit]

Storytelling rights may be broadly defined as the ethics of sharing narratives (including—but not express to—immediate, secondhand and imagined stories). In Storytelling Rights: The uses of oral and written texts by urban adolescents, author Amy Shuman offers the following definition of storytelling rights: "the important and precarious relationship between narrative and upshot and, specifically, betwixt the participants in an event and the reporters who claim the right to talk about what happened."[66]

The ethics of retelling other people's stories may be explored through a number of questions: whose story is being told and how, what is the story's purpose or aim, what does the story promise (for instance: empathy, redemption, authenticity, clarification)--and at whose benefit? Storytelling rights too implicates questions of consent, empathy, and accurate representation. While storytelling—and retelling—can function every bit a powerful tool for bureau and advocacy, it tin besides atomic number 82 to misunderstanding and exploitation.

Storytelling rights is notably important in the genre of personal feel narrative. Bookish disciplines such every bit operation, folklore, literature, anthropology, Cultural Studies and other social sciences may involve the study of storytelling rights, often hinging on ethics.

Other specific applications [edit]

  • Narrative environment is a contested term [67] that has been used for techniques of architectural or exhibition design in which 'stories are told in space' and also for the virtual environments in which estimator games are played and which are invented by the computer game authors.
  • Narrative picture usually uses images and sounds on motion-picture show (or, more recently, on counterpart or digital video media) to convey a story. Narrative film is usually thought of in terms of fiction but it may as well assemble stories from filmed reality, every bit in some documentary film, but narrative film may also use blitheness.
  • Narrative history is a genre of factual historical writing that uses chronology as its framework (as opposed to a thematic treatment of a historical subject area).
  • Narrative poetry is poetry that tells a story.
  • Metanarrative, sometimes as well known as master- or grand narrative, is a higher-level cultural narrative schema which orders and explains knowledge and experience you've had in life. Similar to metanarrative are masterplots or "recurrent skeletal stories, belonging to cultures and individuals that play a powerful role in questions of identity, values, and the agreement of life."[68]
  • Narrative photography is photography used to tell stories or in conjunction with stories.

Meet also [edit]

  • Monogatari
  • Narrative designer
  • Narrative thread
  • Narreme every bit the basic unit of measurement of narrative structure
  • Organizational storytelling

Notes [edit]

  1. ^ Random House (1979)
  2. ^ Carey & Snodgrass (1999)
  3. ^ Harmon (2012)
  4. ^ Webster (1984)
  5. ^ Traupman (1966)
  6. ^ Webster (1969)
  7. ^ author., Steiner, P. (Peter), 1946- (November 2016). Russian formalism : a metapoetics. ISBN978-1-5017-0701-8. OCLC 1226954267.
  8. ^ International Journal of Teaching and the Arts | The Power of Storytelling: How Oral Narrative Influences Children's Relationships in Classrooms
  9. ^ Hodge, et al. 2002. Utilizing Traditional Storytelling to Promote Wellness in American Indian events within whatever given narrative
  10. ^ Czarniawska, Barbara (2004). Narratives in Social Science Research - SAGE Enquiry Methods. methods.sagepub.com. doi:10.4135/9781849209502. ISBN9780761941941 . Retrieved 2021-09-04 .
  11. ^ Baldick (2004)
  12. ^ Due south. R. Rao (1985). Lothal. Archaeological Survey of India. p. 46.
  13. ^ Amalananda Ghosh E.J. Brill, (1990). An Encyclopaedia of Indian Archæology: Subjects. pp- 83
  14. ^ Owen Flanagan Consciousness Reconsidered 198
  15. ^ "Humanities tell our stories of what it means to be human". ASU Now: Access, Excellence, Impact. 2012-09-06. Archived from the original on 2019-03-22. Retrieved 2019-10-18 .
  16. ^ Vladimir Propp, Morphology of the Folk Tale, p 25, ISBN 0-292-78376-0
  17. ^ Todorov, Tzvetan; Weinstein, Arnold (1969). "Structural Analysis of Narrative". Novel: A Forum on Fiction. 3 (ane): 70–76. doi:10.2307/1345003. JSTOR 1345003. S2CID 3942651.
  18. ^ Coste, Didier (2017-06-28). "Narrative Theory and Aesthetics in Literature". Oxford Inquiry Encyclopedia of Literature. 1. doi:10.1093/acrefore/9780190201098.013.116. ISBN9780190201098.
  19. ^ Piquemal, 2003. From Native Northward American Oral Traditions to Western Literacy: Storytelling in Education.
  20. ^ a b Haring, Lee (2004-08-27). "Framing in Oral Narrative". Marvels & Tales. 18 (2): 229–245. doi:10.1353/mat.2004.0035. ISSN 1536-1802. S2CID 143097105.
  21. ^ Hevern, V. W. (2004, March). Introduction and general overview. Narrative psychology: Internet and resource guide. Le Moyne College. Retrieved September 28, 2008.
  22. ^ Dennett, Daniel C (1992) The Self as a Center of Narrative Gravity.
  23. ^ Dan McAdams (2004). "Redemptive Cocky: Narrative Identity in America Today". The Self and Retentiveness. 1 (3): 95–116. doi:10.1093/acprof:oso/9780195176933.001.0001. ISBN9780195176933.
  24. ^ Gold East (August 2007). "From narrative wreckage to islands of clarity: Stories of recovery from psychosis". Can Fam Physician. 53 (8): 1271–5. PMC1949240. PMID 17872833.
  25. ^ Hyden, 50.-C. & Brockmeier, J. (2009). Wellness, Disease and Culture: Broken Narratives. New York: Routledge.
  26. ^ a b Gayle A. Sulik (2010). Pink Ribbon Dejection: How Breast Cancer Civilization Undermines Women's Wellness . USA: Oxford University Printing. pp. 321–326. ISBN978-0-xix-974045-1. OCLC 535493589.
  27. ^ Hirsh, J. B., & Peterson, J. B. (2009). Personality and language use in self-narratives. Journal of Enquiry in Personality, 43, 524-527.
  28. ^ Gabriel, Yiannis; Griffiths, Dorothy Southward. (2004), "Stories in Organizational Research", Essential Guide to Qualitative Methods in Organizational Research, London: SAGE Publications Ltd, pp. 114–126, doi:10.4135/9781446280119.n10, ISBN9780761948889 , retrieved 2021-09-04
  29. ^ Conle, C. (2000). Narrative inquiry: Research tool and medium for professional development. European Journal of Teacher Education, 23(1), 49–62.
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  31. ^ Polkinghorne, Donald E. (May 2007). "Validity Issues in Narrative Research". Qualitative Inquiry. 13 (4): 471–486. doi:ten.1177/1077800406297670. ISSN 1077-8004. S2CID 19290143.
  32. ^ Altheide, David; Johnson, John (2002), "Emerging Criteria for Quality in Qualitative and Interpretive Enquiry", The Qualitative Inquiry Reader, 1000 Oaks: SAGE Publications, Inc., pp. 326–345, doi:10.4135/9781412986267.n19, ISBN9780761924920 , retrieved 2021-09-04
  33. ^ Bailey, Patricia Hill (1996-04-01). "Assuring Quality in Narrative Analysis". Western Journal of Nursing Research. xviii (2): 186–194, p.186. doi:10.1177/019394599601800206. ISSN 0193-9459. PMID 8638423. S2CID 27059101.
  34. ^ Abell. P. (1987) The Syntax of Social Life: the theory and Method of Comparative Narratives, Oxford University Press, Oxford.
  35. ^ Abell, P. (1993) Some Aspects of Narrative Method, Journal of Mathematical Sociology, 18. ane-25.
  36. ^ a b Abell, P. (2009) A Case for Cases, Comparative Narratives in Sociological Explanation, Sociological Methods and Research, 32, 1-33.
  37. ^ Abell, P. (2011) Atypical Mechanisms and Bayesian Narratives in ed. Pierre Demeulenaere, Analytical Sociology and Social Mechanisms Cambridge University Press, Cambridge.
  38. ^ Abell, P. (2009) History, Case Studies, Statistics and Causal Inference, European Sociological review, 25, 561–569
  39. ^ Kenneth Gloag and David Bristles, Musicology: The Cardinal Concepts (New York: Routledge, 2009), 114
  40. ^ a b Bristles and Gloag, Musicology, 113–117
  41. ^ a b c Beard and Gloag, Musicology, 115
  42. ^ a b c Beard and Gloag, Musicology, 116
  43. ^ Handbook of narratology. Hühn, Peter. (2nd ed., fully revised and expanded ed.). Berlin: De Gruyter. 2014. ISBN9783110316469. OCLC 892838436. {{cite book}}: CS1 maint: others (link)
  44. ^ Fludernik, Monika (2001-08-01). "Narrative Voices--Ephemera or Bodied Beings". New Literary History. 32 (3): 707–710. doi:10.1353/nlh.2001.0034. ISSN 1080-661X. S2CID 144157598.
  45. ^ LANDA, JOSÉ ÁNGEL GARCÍA (2004), "Overhearing Narrative", The Dynamics of Narrative Class, DE GRUYTER, doi:10.1515/9783110922646.191, ISBN9783110922646
  46. ^ James, Stuart (July 2006). "The Oxford Companion to World Mythology". Reference Reviews. 20 (5): 34–35. doi:10.1108/09504120610672953. ISSN 0950-4125.
  47. ^ BeattIe, Shannon Boyd (1979). Symbolism and imagery in the story of Cupid and Psyche in Apuleius' Metamorphosis. OCLC 260228514.
  48. ^ Lyle, Emily (2006). "Narrative Form and the Structure of Myth". Folklore: Electronic Journal of Folklore. 33: 59–70. doi:10.7592/fejf2006.33.lyle. ISSN 1406-0957.
  49. ^ "Fables, Myths and Stories", Plato: A Guide for the Perplexed, Bloomsbury Academic, 2007, doi:10.5040/9781472598387.ch-006, ISBN9781472598387
  50. ^ Halliday, W. R. (August 1922). "Apollodorus: The Library. With an English translation by Sir James George Frazer, F.B.A., F.R.S. (The Loeb Classical Library.) Ii vols. Small 8vo. Pp. lix + 403, 546. London: William Heinemann; New York: G. P. Putnam's Sons, 1921. 10s. each vol". The Classical Review. 36 (5–half-dozen): 138. doi:10.1017/s0009840x00016802. ISSN 0009-840X.
  51. ^ "The Voyage of the Argonauts. By Janet Ruth Salary. Pp. 187, with six illustrations and three maps. London: Methuen, 1925. 6s". The Journal of Hellenic Studies. 45 (ii): 294. 1925. doi:10.2307/625111. ISSN 0075-4269. JSTOR 625111.
  52. ^ Bascom, William (Jan 1965). "The Forms of Folklore: Prose Narratives". The Periodical of American Folklore. 78 (307): three–xx. doi:10.2307/538099. ISSN 0021-8715. JSTOR 538099.
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  54. ^ Gottfried, Paul (1993-12-21). "Alain de Benoist's Anti-Americanism". Telos. 1993 (98–99): 127–133. doi:ten.3817/0393099127. ISSN 1940-459X. S2CID 144604618.
  55. ^ Hiltebeitel, Alf (April 1990). "Mitra-Varuna: An Essay on Two Indo-European Representations of Sovereignty. Georges Dumézil , Derek Coltman". The Periodical of Religion. lxx (2): 295–296. doi:ten.1086/488388. ISSN 0022-4189.
  56. ^ "Native storytellers connect the past and the future : Native Daughters".
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  58. ^ Basso, 1984. "Stalking with Stories". Names, Places, and Moral Narratives Among the Western Apache.
  59. ^ a b c d Hodge, F., Pasqua, A., Marquez, C., & Geishirt-Cantrell, B. (2002). Utilizing Traditional Storytelling to Promote Wellness in American Indian Communities. Journal of Transcultural Nursing, 6-11.
  60. ^ a b MacDonald, Grand., McDowell, J., Dégh, L., & Toelken, B. (1999). Traditional storytelling today: An international sourcebook. Chicago: Fitzroy Dearborn
  61. ^ a b c Iseke, Judy. (1998). Learning Life Lessons from Indigenous Storytelling with Tom McCallum. Social Sciences and Humanities Research Council.
  62. ^ Eder, D. J. (2007). Bringing Navajo Storytelling Practices into Schools: The Importance of Maintaining Cultural Integrity. Anthropology & Educational activity Quarterly, 38: 278–296.
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  66. ^ Shuman, Amy (1986). Storytelling rights : the uses of oral and written texts by urban adolescents. Cambridge [Cambridgeshire]: Cambridge University Press. ISBN978-0521328463. OCLC 13643520.
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  68. ^ H. Porter Abbott, The Cambridge Introduction to Narrative, 2nd ed, Cambridge Introductions to Literature (Cambridge: Cambridge University Printing, 2008), 236.

References [edit]

  • Baldick, Chris (2004), The Concise Oxford Dictionary of Literary Terms, Oxford: Oxford Academy Printing, ISBN978-0-19-860883-vii
  • Carey, Gary; Snodgrass, Mary Ellen (1999), A Multicultural Lexicon of Literary Terms, Jefferson: McFarland & Company, ISBN0-7864-0552-X
  • Harmon, William (2012), A Handbook to Literature (12th ed.), Boston: Longman, ISBN978-0-205-02401-8
  • The Random House Lexicon of the English Language, New York: Random House, 1979, LCCN 74-129225
  • Traupman, John C. (1966), The New College Latin & English Lexicon, Toronto: Bantam, ISBN9780553202557
  • Webster's New Globe Dictionary, New York: Warner Books, Inc., 1984, ISBN0-446-31450-1
  • Webster's Seventh New Collegiate Lexicon, Springfield: G. & C. Merriam Company, 1969

Farther reading [edit]

  • Abbott, H. Porter (2009) The Cambridge Introduction to Narrative Second Edition. Cambridge: Cambridge University Press.
  • Bal, Mieke. (1985). Narratology. Introduction to the Theory of Narrative. Toronto: Toronto University Printing.
  • Clandinin, D. J. & Connelly, F. M. (2000). Narrative inquiry: Experience and story in qualitative inquiry. Jossey-Bass.
  • Genette, Gérard. (1980 [1972]). Narrative Discourse. An Essay in Method. (Translated by Jane East. Lewin). Oxford: Blackwell.
  • Goosseff, Kyrill A. (2014). Merely narratives can reflect the experience of objectivity: effective persuasion Periodical of Organizational Alter Direction, Vol. 27 Iss: v, pp. 703 – 709
  • Gubrium, Jaber F. & James A. Holstein. (2009). Analyzing Narrative Reality. Thousand Oaks, CA: Sage.
  • Holstein, James A. & Jaber F. Gubrium. (2000). The Cocky We Live By: Narrative Identity in a Postmodern World. New York: Oxford Academy Press.
  • Holstein, James A. & Jaber F. Gubrium, eds. (2012). Varieties of Narrative Analysis. Thousand Oaks, CA: Sage.
  • Hunter, Kathryn Montgomery (1991). Doctors' Stories: The Narrative Structure of Medical Knowledge. Princeton, NJ: Princeton University Press.
  • Jakobson, Roman. (1921). "On Realism in Art" in Readings in Russian Poetics: Formalist and Structuralist. (Edited by Ladislav Matejka & Krystyna Pomorska). The MIT Press.
  • Labov, William. (1972). Chapter 9: The Transformation of Feel in Narrative Syntax. In: "Language in the Inner City." Philadelphia, PA: University of Pennsylvania Printing.
  • Lévi-Strauss, Claude. (1958 [1963]). Anthropologie Structurale/Structural Anthropology. (Translated by Claire Jacobson & Brooke Grundfest Schoepf). New York: Basic Books.
  • Lévi-Strauss, Claude. (1962 [1966]). La Pensée Sauvage/The Savage Listen (Nature of Human Society). London: Weidenfeld & Nicolson.
  • Lévi-Strauss, Claude. Mythologiques I-IV (Translated by John Weightman & Doreen Weightman)
  • Linde, Charlotte (2001). Affiliate 26: Narrative in Institutions. In: Deborah Schiffrin, Deborah Tannen & Heidi East. Hamilton (ed.southward) "The Handbook of Discourse Analysis." Oxford & Malden, MA: Blackwell Publishing.
  • Norrick, Neal R. (2000). "Conversational Narrative: Storytelling in Everyday Talk." Amsterdam & Philadelphia: John Benjamins Publishing Company.
  • Ranjbar Vahid. (2011) The Narrator, Iran: Baqney
  • Pérez-Sobrino, Paula (2014). "Meaning structure in verbomusical environments: Conceptual disintegration and metonymy" (PDF). Journal of Pragmatics. Elsevier. lxx: 130–151. doi:10.1016/j.pragma.2014.06.008.
  • Quackenbush, S.W. (2005). "Remythologizing culture: Narrativity, justification, and the politics of personalization" (PDF). Periodical of Clinical Psychology. 61 (ane): 67–fourscore. doi:10.1002/jclp.20091. PMID 15558629.
  • Polanyi, Livia. (1985). "Telling the American Story: A Structural and Cultural Analysis of Conversational Storytelling." Norwood, NJ: Ablex Publishers Corporation.
  • Salmon, Christian. (2010). "Storytelling, bewitching the modernistic mind." London, Verso.
  • Shklovsky, Viktor. (1925 [1990]). Theory of Prose. (Translated by Benjamin Sher). Normal, IL: Dalkey Archive Press.
  • Todorov, Tzvetan. (1969). Grammaire du Décameron. The Hague: Mouton.
  • Toolan, Michael (2001). "Narrative: a Critical Linguistic Introduction"
  • Turner, Mark (1996). "The Literary Mind"
  • Ranjbar Vahid. The Narrator, Islamic republic of iran: Baqney 2011 (summary in english language)
  • White, Hayden (2010). The Fiction of Narrative: Essays on History, Literature, and Theory, 1957–2007. Ed. Robert Doran. Baltimore: Johns Hopkins University Press.

External links [edit]

  • International Society for the Study of Narrative
  • Manfred Jahn. Narratology: A Guide to the Theory of Narrative
  • Narrative and Referential Activity
  • Some Ideas about Narrative – notes on narrative from an academic perspective

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Source: https://en.wikipedia.org/wiki/Narrative