Narrative Theory offers an introduction to the field's critical and philosophical approaches towards narrative throughout history.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
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).
Inhaltsangabe
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.
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.
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