Week 5 & 6

• Short Stories

• Legend

• Fairy Tale

• Novels

• Short Stories

• Fables

• Myths

uses basic storytelling techniques that include dialogue, narration and exposition. Not a narrative of reality. conceived by the author

exposition, initial action, rising action, climax, falling action, resolution

background information of the plot that includes characters and setting.

the very first conflict that occurs in the plot

the most suspenseful part of the plot. The turning point for the protagonist´s character

three events (or less) that unravel the conflict between the conflict between the protagonist and the antagonist that lead to the resolution

Conflict is resolved and we discover whether the protagonist achieves their goal or not.

tying up loose ends

• 2500 - 3000 years ago

• oldest known literary form (since Antiquity)

• ideal hero (Perseus/Hercules)

• unifies worldview

• rooted in myth, religion, history

• written in episodic form

• often rhymed verse

• closer to fiction than to poetry

• Middle ages

• individualisation of the protagonist (subjective, not objective)

• personal faults and weakness

• narrow(er) in scope

• linear plot structure

• condensed action

• antique romance in prose, rhymed verse in mediaeval romances

• developed in Spain in the 17th and England n the 18th C (Servantes - Don Quixote)

• more "realistic" and "individualistic" hero

• rooted in a particular history and geographical reality

• individualised hero (also often as an anti-hero)

• written in unrhymed prose

• Beowulf (anon. 13th C.)

• The Iliad and The Odyssey (Homer, 7th C. BC)

• Golden Ass (Apuleius, 2th C. AD)

• Le Morte Darthur (Sir Thimas Mallory)

• Don Quixote (Miguel Servantes ca. 1610)

• Robinson Crusoe (Daniel Defoe, 1719)

• (younger) readers learn something (morally)

• Wilhelm Meisters Lehrjahre (Johann Wolfgang von Goethe, 1795)

• David Copperfield (Charles Dickens, 1849)

Ivanhoe, Rob Roy, Waverley (Sir Walter Scott, 1819/1818/1814) Scott is considered by many as the 'inventor' of the historical novel

• Simplizissimus (Hans Jacob Christoph von Grimmelshausen, 1669)

• The Adventures of Huckleberry Finn (Mark Twain, 1885)

Clarissa, Pamela (Samuel Richardson, 1740/1748)

• clever rogue or adventurers

• series of episodes

• satiric n nature

• character is admirable

• hero of low standing, living by their wits in a corrupt society

• bravery, quick thinking and strength

• Gulliver´s Travels (Jonathan Swift, 1726)

• The adventures of Huckleberry Finn (M. Twain 1885)

• 1984 (George Orwell 1949)

• Frankenstein (Mary Shelley, 1819)

• The Castle of Otranto (Horace Walpole 1764)

• Dracula (Bram Stroker 1897)

• Oliver Twist (Charles Dickens 1837)

• The Big Sleep (Raymond Chandler 1939)

• Murder on the Orient Express (Agatha Christie 1934)

• Giallo - little small detective books

1450s by Gutenberg

William Caxton in 1475

• can be read in one sitting

• characteristics: selective, focused narrative perspective, one central character, jumping right into the action (in medias res) and using flashbacks to create the background

• Thousand and One Nights (14th century)

• Decamerone (Giovanni Boccaccio, ca. 1350)

• The Canterbury Tales (Geoffrey Chaucer, ca. 1387)

emerged as a popular fictional form at the end of the 18th century (together with the novel and the newspaper)

• Tatler (1709-11)

• Spectator (1711-1714)

• Plot/Story/discourse/narrative:

• Narrative perspectives

• Character & characterization

• Setting & space

• Constructions of Time

chronological sequence of events

the king died and then the queen died.

the logical structure which connects or doesn't connects these event

the kind died and then the queen dies of grief.

evoking past events outside of the story which influence the development of the plot (for reasons of space - short story; or for reasons of plot construction)

anticipating the ending, hinting at things to come possible aim/result: taking away the suspense and directing the reader to how the story is told rather than it's content...

unified image of man and of society is shattered to uncover the breaks, disillusions and doubts of the modern age

the tradition to manipulate narrative is as old as fiction itself

problematizes the relationship between fiction and reality and the narrative mechanisms of its medium

facere (Latin: to do, to make)

ficere (Latin: hearsay, storytelling)

The things that happen in a narrative

The characters that make things happen, or have things happen to them.

The setting/space; the place where things happen

• How are certain effects are achieved? • What is the narrative situation? • Whose point of view is presented? • Which narrative modes are employed? • How are the thoughts of characters transmitted? • How is the chronology of events dealt with? • How is the style used?

• multiple plot lines • single plot novels • main plot • subplot • tightly plotted... reason and purpose... consequence... suspense • closed plotted..... All loose ends are tied up. Victorian novels

• Narrative voice - who speaks

• Focalisation- who sees

a narrator who is part of the story

a narrator who is NOT part of the story but hovers above it and knows everything (similar concept to that of the omniscient narrator)

a narrator who is part of the story and who is the story's protagonist (similar to the first-person narrator)

transmission of a story via a narrator - TELLING what happens

dialogue - telling

transmission of a story without the interference of the narrator - SHOWING what happens

mimic - showing

Franz K. Stanzel

The story is told by a character in the story from her perspective (aiming to provide an 'authentic' narration from the narrator's subjective perspective (I-as-protagonist vs I-as-witness)

Similar to Genette`s homodiagetic narrator

The story is told by a character outside of the story who is NOT part of the story herself in the first or third person, sometimes directly addressing the reader omnipresent/omniscient narrator knows everything about the characters and the story and tells it from a god-like perspective (hovering over the narrative)

Similar to Genette`s heterodiagetic narrator

The story is revealed by the actions and utterances of the characters in the story with the narrator moving to the background narration through the "Personal", the cast of the story and their actions - reflecting the fictional world focus can shift between the main character (protagonist) and minor characters

• the narrative shifts from the exterior aspects of the plot to the inner world of the character

• came to prominence in Modernist fiction (with the influence of Freud's psychoanalysis and the shift from the social realism of the 19th century to the focus on the individual's fate and mind in the aftermath of WWI)

within a character

determined by a character's feelings & thoughts

limited information

focalisation

determined by a character's actions and speech, excluding feelings & thoughts

usually have one specific trait that stands out e.g. mediaeval morality plays ("Everyman", etc.) the "stage Irish"

more rounded individuals, with negative and positive traits, more human that types

description of a character through a narrator's voice - explanatory method

portraying a character through her actions and utterances - dramatic method