This handbook brings together 42 contributions by leading narratologists devoted to the study of narrative devices in European literatures from antiquity to the present. Each entry examines the use of a specific narrative device in one or two national literatures across the ages, whether in successive or distant periods of time. Through the analysis of representative texts in a range of European languages, the authors compellingly trace the continuities and evolution of storytelling devices, as well as their culture-specific manifestations. In response to Monika Fludernik’s 2003 call for a "diachronization of narratology," this new handbook complements existing synchronic approaches that tend to be ahistorical in their outlook, and departs from postclassical narratologies that often prioritize thematic and ideological concerns. A new direction in narrative theory, diachronic narratology explores previously overlooked questions, from the evolution of free indirect speech from the Middle Ages to the present, to how changes in narrative sequence encoded the shift from a sacred to a secular worldview in early modern Romance literatures. An invaluable new resource for literary theorists, historians, comparatists, discourse analysts, and linguists.

Telling a story requires selecting and assembling individual elements of the events one wishes to communicate. The "nonnarrated" are the events (or parts of events) that were deliberately left out of the selection, meaning all that was not chosen to be told in the story, or chosen not to be told. Since the realm of the nonnarrated in any given story is infinitely large, studying the nonnarrated requires focusing on that which is not told but nevertheless belongs to a story. This monograph explores the phenomenon of the nonnarrated in narrative short forms from Cechov to Murakami and in novels by Dostoevskij and Robbe-Grillet.

Narratology has been flourishing in recent years thanks to investigations into a broad spectrum of narratives, at the same time diversifying its theoretical and disciplinary scope as it has sought to specify the status of narrative within both society and scientific research. The diverse endeavors engendered by this situation have brought narrative to the forefront of the social and human sciences and have generated new synergies in the research environment. Emerging Vectors of Narratology brings together 27 state-of-the-art contributions by an international panel of authors that provide insight into the wealth of new developments in the field. The book consists of two sections. "Contexts" includes articles that reframe and refine such topics as the implied author, narrative causation and transmedial forms of narrative; it also investigates various historical and cultural aspects of narrative from the narratological perspective. "Openings" expands on these and other questions by addressing the narrative turn, cognitive issues, narrative complexity and metatheoretical matters. The book is intended for narratologists as well as for readers in the social and human sciences for whom narrative has become a crucial matrix of inquiry.

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 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.

Figurally colored narration (FCN) is narrator's discourse (whether in the first or third person) that adopts salient features of character's text, mainly valuation and designation, without signaling the figural part in any way. Unlike free indirect discourse, FCN does not refer to current acts of consciousness, but to typical, characteristic segments of the character's text. There are two main modes of FCN: contagion of the narrator's discourse with a character's text, and the more or less ironical reproduction of a character's text in narrative discourse. In the latter case, the narrator's criticism may refer to either the content of the character's text or to its form of expression. This study begins with a definition and an example of FCN as a narrative device, followed by an analysis of terms used for FCN in German, Anglophone and Russian literary criticism. Building on the perception of FCN as a phenomenon of interference between narrator's and character's text (text interference), this book analyses the function and applications of FCN in narratives written in German, English and Russian.

The eight contributions to this collection, written by members of the a ~Narratologya + research group in Hamburg and by external experts, contain the basic categories of Russian and Czech narratology. These became significant for the development of international narratology or for the further development potential of the theory. The studied concepts include a ~fablea (TM) and a ~subjecta (TM), a ~subject developmenta (TM), a ~eventa (TM) and a ~fictional worldsa (TM). The comparative studies explore and discuss Russian composition theory, the author theories of Slavic functionalism, formalistic film and theater concepts and narrative semantics in the conception of Prague structuralism. The spectrum of the discussed theorists includes the Russian formalist Viktor Shklovsky and the formalism-leaning theorist Michail Petrovsky, the Czech structuralist Jan MukaA(TM)ovskA1/2, Felix VodiAka and LubomA-r DoleA3/4el as well as Yuri Lotman, the central figure of the Moscow-Tartu school.

This collected volume contains German translations with commentaries and annotations of 12 theoretical texts from the Russian pre-history of narratology. The texts, all of pre-formalistic, formalistic, or structuralist provenance or from sources close to formalism, are devoted to two key topics in Russian proto-narratology, the sujet and the work-immanent abstract author. The selection, translation, commentary and annotations were carried out by members of a sub-project within the Hamburg Narratology Research Group, which is funded by the German Research Foundation."

Sinne und Emotion bilden das Prisma jeder Selbst- und Welterfahrung und pragen die im Individuum verankerte Subjektivitat. Der russische Emigrationsschriftsteller Gajto Gazdanov (1903-1971) ruckt Wahrnehmungen so stark in den Vordergrund, dass die Handlung oft von einem UEbermass an Deskription in den Hintergrund gedrangt wird. Diese Studie beleuchtet Motive sinnlicher und emotionaler Erfahrung unter Berucksichtigung interdisziplinarer Konzepte aus Psychologie, Psychoanalyse, Philosophie und den Naturwissenschaften und fragt nach der Systematik ihrer motivischen Reprasentation, ihrer Wechselbeziehung sowie eines davon abzuleitenden Weltbilds. Das Forschungsfeld eroeffnet Zugang zu Mechanismen der empirischen Realitat, was auch fur andere Disziplinen neue Perspektiven und Erkenntnisse verspricht.

(1885-1963) " ". 1920- , . , . , . , , , . Nikolai Nikitin's work (1885-1963) is one of the least studied works of the heritage of the literary group "Serapion Brothers". This study is dedicated to the characteristic phenomena of Russian literature of the 1920s, which influenced Nikitin's early work. It concentrates on the ornamentalism and anti-rationalism in Nikitin's early prose, describing their origins and characteristic features. Ornamentalism deforms narrative structures using elements of poetic language; anti-rationalism accentuates the biological and intuitive foundations of existence. In addition to these aspects, Nikitin's style borrows from Zamyatin, Pilnyak and Shklovsky, but also has individual features connecting comic and grotesque with a pessimistic view on the existence of man.

So viel uber die europaische Romantik geschrieben wurde, so selten wurde beachtet, dass ihre "Abwicklung" und der Bruch um 1830 ein europaisches Paradigma bilden. Der Band sucht nach einem neuen Verstandnis fur die russische Literatur der 1830er Jahre in ihrem eigenen Zeitcharakter und literaturhistorische Konzepte fur die tiefgreifenden Umbruche. Ein solches Verstandnis muss die Verachtung der Zeitgenossen gegenuber ihrer vermeintlichen kulturellen Endzeit mit deren objektiven Produktivitat und Originalitat verbinden. Der Autor analysiert die Umwalzungen im Literaturbetrieb und im Literaturverstandnis uber den Orientalisten, Publizisten und Autor Osip Senkovskij als pragendste Figur der Zeit wie auch ihr groesstes Feindbild.

Frankfurt/M., Berlin, Bern, Bruxelles, New York, Oxford, Wien, 2002. 222 S., num. tab. European University Studies: Series 21, Linguistics. Vol. 248 Wie kaum ein anderes Werk der tschechischen Literatur erfreut sich Karel Capeks Roman Der Krieg mit den Molchen seit seinem Erscheinen 1936 beim Publikum im Inland wie im Ausland einer ungemeinen Popularitat. Diesem Phanomen wird in der vorliegenden Studie nachgegangen, indem der Roman im Spannungsfeld zwischen Textintention und Rezeption untersucht wird. Grundlage hierfur ist eine detaillierte Analyse der im Roman verwendeten literarischen Verfahren, die die Rezeption textseitig lenken. Daran anschliessend werden anhand konkreter Rezeptionszeugnisse aus Ost und West die aussertextuellen Faktoren politischer wie asthetischer Natur in den Blick genommen, die die Rezeption des Textes wesentlich mitbestimmt haben, um abschliessend eine Antwort auf die Frage nach der bleibenden Aktualitat des Romans zu geben. Aus dem Inhalt: Die Editionsgeschichte des Textes - Illusionsstorung als dominantes asthetisches Prinzip - Die Gattungszugehorigkeit des Textes (Utopie, Science Fiction, Satire) - Die Rezeptionsgeschichte des Textes in Ost und West - Die fortdauernde Wirkung des Romans.

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Wer auf Wiederholungen aufmerksam wird, dem erschliesst sich eine Landschaft: Vergangenes und Gegenwartiges treten in Relation zueinander; zwischen ihnen entstehen Nachbarschaften, die zuvor nicht da waren. Wiederholungen treten dabei nicht nur als Sinn- und Strukturphanomene auf, sondern schaffen Passagen zwischen Sinn und Prasenz, bringen auch Latenzeffekte hervor. Im Zentrum der Untersuchung stehen die Erscheinungsformen der Wiederholung und ihre Effekte in der tschechischen und slowakischen Lyrik der Latenzzeit 1955-1965. Wiederholungen in und zwischen Texten - Permutationen und Variationen, Zitaten und Anspielungen, Selbstzitaten und Textvarianten, Nuancen und AEhnlichkeiten - bilden hier eine virtuelle Gesamtheit, im Rahmen derer nach einer Poetik der Wiederholung gesucht wird.

This third edition substantially expands on the theory of eventfulness, which now fills an entire sub-chapter. The chapter on narrative perspective has been amplified with a section on the highly contemporary topic of perspectival structure. All chapters have been critically reviewed with some revisions and updated commentary. Throughout the work, references to more recent publications have been inserted."

This book is a standard work for modern narrative theory. It provides a terminological and theoretical system of reference for future research. The author explains and discusses in detail problems of communication structure and entities of a narrative work, point of view, the relationship between narratora (TM)s text and charactera (TM)s text, narrativity and eventfulness, and narrative transformations of happenings. The book outlines a theory of narration and analyses central narratological categories such as fiction, mimesis, author, reader, narrator etc. A detailed bibliography and glossary of narratological terms make this book a compendium of narrative theory which is of relevance for scholars and students of all literary disciplines.

Diese Arbeit rekonstruiert mit Hilfe systemsoziologischer Kategorien die Entwicklung der russischen Literatur- und Kunsttheorie zwischen 1700 und 1900 im Vergleich zu Westeuropa. Es wird gezeigt, dass in Russland die fur die westeuropaische Moderne konstitutive Evolution von der stratifizierten zur funktionsdifferenzierten Gesellschaft ausbleibt und sich infolgedessen Kunst und Literatur nicht zu autonomen und funktional spezifizierten gesellschaftlichen Subsystemen ausdifferenzieren konnen. Die Anwendung eines elaborierten (kunst-)soziologischen Instrumentariums sowie der Vergleich mit der westeuropaischen Evolution der Kunst zu einem exakt abgrenzbaren Teilsystem der Gesellschaft bringt die fur Russland charakteristische Funktionsuberforderung insbesondere der Literatur als religioses, metaphysisches, kognitives, moralisches und politisches Erkenntnismedium einer theoretisch fundierten Erklarung naher. Aus dem Inhalt: Zu Fragestellung, Untersuchungsziel und theoretischer Basis - Die fruhneuzeitliche Ausdifferenzierung des Sozialsystems Kunst in Westeuropa - Gesellschaftsstruktur und Kunst in Russland zwischen dem 10. und 17. Jahrhundert - Zum Stand gesellschaftlicher Funktionsdifferenzierung in Russland im 18. und 19. Jahrhundert - Die Ausdifferenzierung der Kunst im 18. Jahrhundert als Reflexions-problem der westeuropaischen Kunsttheorie - Die kunsttheoretische Semantik Russlands im 18. und 19. Jahrhundert (Asthetik, Autonomie, Mimesis, Aufklarung, Genialitat) - Das Faszinosum geretteter Identitat: Die russische Romantik.