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Lyric poetry as a temporal art-form makes pervasive use of
narrative elements in organizing the progressive course of the
poetic text. This observation justifies the application of the
advanced methodology of narratology to the systematic analysis of
lyric poems. After a concise presentation of this transgeneric
approach to poetry, the study sets out to demonstrate its practical
fruitfulness in detailed analyses of a large number of English (and
some American) poems from the early modern period to the present.
The narratological approach proves particularly suited to focus on
the hitherto widely neglected dimension of sequentiality, the
dynamic progression of the poetic utterance and its eventful turns,
which largely constitute the raison d'etre of the poem. To
facilitate comparisons, the examples chosen share one special
thematic complex, the traumatic experience of severe loss: the
death of a beloved person, the imminence of one's own death, the
death of a revered fellow-poet and the loss of a fundamental
stabilizing order. The function of the poems can be described as
facing the traumatic experience in the poetic medium and employing
various coping strategies. The poems thus possess a therapeutic
impetus.
An event, defined as the decisive turn, the surprising point in the
plot of a narrative, constitutes its tellability, the motivation
for reading it. This book describes a framework for a
narratological definition of eventfulness and its dependence on the
historical, socio-cultural and literary context. A series of
fifteen analyses of British novels and tales, from late medieval
and early modern times to the late 20th century, demonstrates how
this concept can be put into practice for a new, specifically
contextual interpretation of the central relevance of these texts.
The examples include Chaucer's "Miller's Tale", Behn's "Oroonoko",
Defoe's "Moll Flanders", Richardson's "Pamela", Fielding's "Tom
Jones", Dickens's "Great Expectations", Hardy's "On the Western
Circuit", James's "The Beast in the Jungle", Joyce's "Grace",
Conrad's "Shadow-Line", Woolf's "Unwritten Novel", Lawrence's
"Fanny and Annie", Mansfield's "At the Bay", Fowles's "Enigma" and
Swift's "Last Orders". This selection is focused on the
transitional period from 19th-century realism to 20th-century
modernism because during these decades traditional concepts of what
counts as an event were variously problematized; therefore, these
texts provide a particularly interesting field for testing the
analytical capacity of the term of eventfulness.
This handbook in English provides a systematic overview of the
present state of international research in narratology. Detailed
individual studies by internationally renowned narratologists
elucidate 34 central terms. The articles present original research
contributions and are all structured in a similar manner. Each
contains a concise definition and a detailed explanation of the
term in question. In a main section they present a critical account
of the major research positions and their historical development
and indicate directions for future research; they conclude with
selected bibliographical references.
Stories do not actually exist in the (fictional or factual) world
but are constituted, structured and endowed with meaning through
the process of mediation, i.e. they are represented and transmitted
through systems of verbal, visual or audio-visual signs. The terms
usually proposed to describe aspects of mediation, especially
perspective, point of view, and focalization, have yet to bring
clarity to this field, which is of central importance, not only for
narratology but also for literary and media studies. One crucial
problem about mediation concerns the dimensions of its modeling
effect, particularly the precise status and constellation of the
mediating agents, i.e. author, narrator or presenter and
characters. The question is how are the structure and the meaning
of the story conditioned by these different positions in relation
to the mediated happenings perceived from outside and/or inside the
storyworld? In this volume, fourteen articles by international
scholars from seven different countries address these problems anew
from various angles, reviewing the sub-categorization of mediation
and re-specifying its dimensions both in literary texts and other
media such as drama and theater, film, and computer games.
This study offers a fresh approach to the theory and practice of
poetry criticism from a narratological perspective. Arguing that
lyric poems share basic constituents of narration with prose
fiction, namely temporal sequentiality of events and verbal
mediation, the authors propose the transgeneric application of
narratology to the poetic genre with the aim of utilizing the
sophisticated framework of narratological categories for a more
precise and complex modeling of the poetic text. On this basis, the
study provides a new impetus to the neglected field of poetic
theory as well as to methodology. The practical value of such an
approach is then demonstrated by detailed model analyses of
canonical English poems from all major periods between the 16th and
the 20th centuries. The comparative discussion of these analyses
draws general conclusions about the specifics of narrative
structures in lyric poetry in contrast to prose fiction.
Lyric poetry is usually regarded as a genre in its own right,
delineated from narrative and dramatic texts. This publication
intends to use categories from narrative theory to develop the
argument that poems also display basic characteristics seen as
indicative of the narrative (in particular, the perspectivized
presentation of sequentially ordered events). The results are
firstly significant revisions of genre-theory, and secondly a
considerable extension and precision in processes of textual
analysis - including the use of scheme theory as used in cognitive
psychology.
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