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• W2332901170 abstract "ARRATIVITY may be thought of most simply as the enabling force of narrative, a force that is present at every point in the narrative and thus always operates syntagmatically. In my understanding, the term acquires value insofar as it can be applied to the linear existence of perceivable narrative texts of whatever kind. It follows from this that my understanding is meant to be as comprehensively useful as possible, able to meet the challenge of and serve to illuminate texts that may be either ostensibly conjunctive or radically disjunctive in respect to the worlds they represent, and similarly in respect to the ways in which they choose to represent those worlds. Since every narrative will possess its own form of narrativity, then every narrative should be examinable in the light of this concept. There is an unspoken assumption here that will become clearer in the pages to follow-namely, that to read any narrative with the required fidelity means to read its narrativity. This reading will itself produce a story-the story of narrativity-which will enhance, dramatize, and above all provide a rationale for the story being told. One may distinguish briefly between my approach and the celebrated Russian Formalist one based on their distinction between fabula and sujet, story and discourse.' In the Formalist case one compares a hypothetical entity, the fabula, with an entity having ontological status, the sujet as a finished artifact in Meir Sternberg's words; in my case one concentrates on the latter entity in all its ontological solidity, seeing it both as an aggregation of devices and story events, and as a story in its own right, possessing a syntagmatic logic that cannot be accounted for simply by the identification of narratological features that are taken to constitute a sujet. The Formalist distinction can certainly help to determine the nature of narrativity in the case of novels such as Under Western Eyes and The Good Soldier; however, its degree of applicability becomes questionable when we encounter works whose fabulae seem difficult or impossible to reconstruct, as with novels in the Robbe-Grillet or postmodern mode, although it allows us to establish this impossibility. It remains an optional distinction whereas my own is necessary for all narratives." @default.
• W2332901170 created "2016-06-24" @default.
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• W2332901170 date "1989-01-01" @default.
• W2332901170 modified "2023-09-27" @default.
• W2332901170 title "A Logic of Narrativity" @default.
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