Kent Puckett
Narrative Theory
Kent Puckett
Narrative Theory
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Narrative Theory offers an introduction to the field's critical and philosophical approaches towards narrative throughout history.
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Narrative Theory offers an introduction to the field's critical and philosophical approaches towards narrative throughout history.
Produktdetails
- Produktdetails
- Verlag: Cambridge University Press
- Seitenzahl: 360
- Erscheinungstermin: 2. Februar 2017
- Englisch
- Abmessung: 235mm x 157mm x 24mm
- Gewicht: 674g
- ISBN-13: 9781107033665
- ISBN-10: 1107033667
- Artikelnr.: 45153684
- Verlag: Cambridge University Press
- Seitenzahl: 360
- Erscheinungstermin: 2. Februar 2017
- Englisch
- Abmessung: 235mm x 157mm x 24mm
- Gewicht: 674g
- ISBN-13: 9781107033665
- ISBN-10: 1107033667
- Artikelnr.: 45153684
Kent Puckett is an Associate Professor of English at the University of California, Berkeley. He is author of Bad Form: Social Mistakes and the Nineteenth-Century Novel (2008) and War Pictures: Cinema, History, and Violence in Britain, 1939-1945 (forthcoming).
1. Introduction: story/discourse
2. Action, event, conflict: the uses of narrative in Aristotle and Hegel
2.1. Beginning, middle, and end: Aristotle and narrative
2.2. Tragedy, comedy, and the cunning of reason: Hegel and narrative theory
3. Lost illusions: narrative in Marx, Nietzsche, and Freud
3.1. First as tragedy: Karl Marx, narrative, and revolution
3.2. Beyond story and discourse: Friedrich Nietzsche and the limits of narrative
3.3. Narrative and its discontents: Sigmund Freud's story
4. Epic, novel, narrative theory
4.1. Relations stop nowhere: Henry James and the novel's narrative
4.2. Starry maps: Georg Lukács and the comparative analysis of narrative genres
4.3. To kill is not to refute: Mikhail Bakhtin on genre, narrative, and history
4.4. History's scar: Erich Auerbach and narrative thinking
5. Form, structure, narrative
5.1. The hero leaves home: Vladimir Propp and narrative morphology
5.2. Knight's move: Viktor Shklovsky and Russian Formalism
5.3. Differences without positive terms: Ferdinand de Saussure and the Structuralist turn
5.4. The elementary structures of story and discourse: Claude Lévi-Strauss and the narrative analysis of myth
6. Narratology and narrative theory: Kristeva, Barthes, and Genette
6.1. It is what it isn't: Julia Kristeva and Tel Quel
6.2. Parisian gold: Roland Barthes and narrative pleasure
6.3. The knowable is at the heart of the mysterious: Genette's narrative poetics.
2. Action, event, conflict: the uses of narrative in Aristotle and Hegel
2.1. Beginning, middle, and end: Aristotle and narrative
2.2. Tragedy, comedy, and the cunning of reason: Hegel and narrative theory
3. Lost illusions: narrative in Marx, Nietzsche, and Freud
3.1. First as tragedy: Karl Marx, narrative, and revolution
3.2. Beyond story and discourse: Friedrich Nietzsche and the limits of narrative
3.3. Narrative and its discontents: Sigmund Freud's story
4. Epic, novel, narrative theory
4.1. Relations stop nowhere: Henry James and the novel's narrative
4.2. Starry maps: Georg Lukács and the comparative analysis of narrative genres
4.3. To kill is not to refute: Mikhail Bakhtin on genre, narrative, and history
4.4. History's scar: Erich Auerbach and narrative thinking
5. Form, structure, narrative
5.1. The hero leaves home: Vladimir Propp and narrative morphology
5.2. Knight's move: Viktor Shklovsky and Russian Formalism
5.3. Differences without positive terms: Ferdinand de Saussure and the Structuralist turn
5.4. The elementary structures of story and discourse: Claude Lévi-Strauss and the narrative analysis of myth
6. Narratology and narrative theory: Kristeva, Barthes, and Genette
6.1. It is what it isn't: Julia Kristeva and Tel Quel
6.2. Parisian gold: Roland Barthes and narrative pleasure
6.3. The knowable is at the heart of the mysterious: Genette's narrative poetics.
1. Introduction: story/discourse
2. Action, event, conflict: the uses of narrative in Aristotle and Hegel
2.1. Beginning, middle, and end: Aristotle and narrative
2.2. Tragedy, comedy, and the cunning of reason: Hegel and narrative theory
3. Lost illusions: narrative in Marx, Nietzsche, and Freud
3.1. First as tragedy: Karl Marx, narrative, and revolution
3.2. Beyond story and discourse: Friedrich Nietzsche and the limits of narrative
3.3. Narrative and its discontents: Sigmund Freud's story
4. Epic, novel, narrative theory
4.1. Relations stop nowhere: Henry James and the novel's narrative
4.2. Starry maps: Georg Lukács and the comparative analysis of narrative genres
4.3. To kill is not to refute: Mikhail Bakhtin on genre, narrative, and history
4.4. History's scar: Erich Auerbach and narrative thinking
5. Form, structure, narrative
5.1. The hero leaves home: Vladimir Propp and narrative morphology
5.2. Knight's move: Viktor Shklovsky and Russian Formalism
5.3. Differences without positive terms: Ferdinand de Saussure and the Structuralist turn
5.4. The elementary structures of story and discourse: Claude Lévi-Strauss and the narrative analysis of myth
6. Narratology and narrative theory: Kristeva, Barthes, and Genette
6.1. It is what it isn't: Julia Kristeva and Tel Quel
6.2. Parisian gold: Roland Barthes and narrative pleasure
6.3. The knowable is at the heart of the mysterious: Genette's narrative poetics.
2. Action, event, conflict: the uses of narrative in Aristotle and Hegel
2.1. Beginning, middle, and end: Aristotle and narrative
2.2. Tragedy, comedy, and the cunning of reason: Hegel and narrative theory
3. Lost illusions: narrative in Marx, Nietzsche, and Freud
3.1. First as tragedy: Karl Marx, narrative, and revolution
3.2. Beyond story and discourse: Friedrich Nietzsche and the limits of narrative
3.3. Narrative and its discontents: Sigmund Freud's story
4. Epic, novel, narrative theory
4.1. Relations stop nowhere: Henry James and the novel's narrative
4.2. Starry maps: Georg Lukács and the comparative analysis of narrative genres
4.3. To kill is not to refute: Mikhail Bakhtin on genre, narrative, and history
4.4. History's scar: Erich Auerbach and narrative thinking
5. Form, structure, narrative
5.1. The hero leaves home: Vladimir Propp and narrative morphology
5.2. Knight's move: Viktor Shklovsky and Russian Formalism
5.3. Differences without positive terms: Ferdinand de Saussure and the Structuralist turn
5.4. The elementary structures of story and discourse: Claude Lévi-Strauss and the narrative analysis of myth
6. Narratology and narrative theory: Kristeva, Barthes, and Genette
6.1. It is what it isn't: Julia Kristeva and Tel Quel
6.2. Parisian gold: Roland Barthes and narrative pleasure
6.3. The knowable is at the heart of the mysterious: Genette's narrative poetics.