Narrative Discourse¶
Genette, G. (1972/1980). Narrative Discourse: An Essay in Method. Cornell University Press.
Cited by¶
9 citations across 9 artifacts.
Each citation links to the sentence it supports in the citing article.
Primes¶
- Fabula And Syuzhet
- Nonlinear narratives, Russian-Formalist analysis, and Genette's anatomy of order/duration/frequency all turn on the chronology-versus-telling split.
This sourceTranslated by Jane E. Lewin. Ithaca: Cornell University Press, 1980. Systematic anatomy of order, duration, and frequency relating story chronology to the order and manner of its telling — the canonical formalization of the chronology-versus-telling split.
Supported in partVerified against the work's full text
Genette frames order, duration and frequency as relations between story time and narrative time; the Russian-Formalist strand is only touched in passing.
“we will study relations be- tween the time of the story and the (pseudo-) time of the narra- tive according to what seem to me to be three essential determi- nations: connections between the temporal order of succession of the events in the story and the pseudo-temporal order of their arrangement in the narrative”
- Nonlinear narratives, Russian-Formalist analysis, and Genette's anatomy of order/duration/frequency all turn on the chronology-versus-telling split.
- Form and Content
- The prime names a recurring axis of decomposition, not a guarantee that any given object splits along a single clean seam.
This sourceNarratological framework distinguishing story (histoire), narrative (récit), and narrating. SUPPORTS the claim that the form/content split is an axis of decomposition applicable at multiple layered levels rather than a single two-part split (471).
- The prime names a recurring axis of decomposition, not a guarantee that any given object splits along a single clean seam.
- Viewpoint
- Literary narratology. Focalization fixes which character's perceptual and epistemic position the narrative is anchored to, determining what the reader can access and what is occluded.
This sourceTranslated by Jane E. Lewin. Ithaca: Cornell University Press, 1980. Focalization fixes which character's perceptual and epistemic position anchors the narrative, determining what the reader can access and what is occluded.
SupportedVerified against the work's full text
Genette describes perspective (focalization) as regulating narrative information by a character's knowledge and vision, with partial obstruction.
“The narrative can also choose to regu- late the information it delivers, not with a sort of even screening, but according to the capacities of knowledge of one or another participant in the story (a character or group of characters)”
- Literary narratology. Focalization fixes which character's perceptual and epistemic position the narrative is anchored to, determining what the reader can access and what is occluded.
Domain-specific¶
- Diegesis
- In contemporary narratology and film theory, the word has stabilized around its spatial sense: the diegesis is the world, not the telling
This sourceGenette's use of 'diegesis' for the narrated universe (story), borrowed from the theoreticians of cinematographic narrative and by his time a widespread usage.
SupportedVerified against the work's full text
“I will also use the term diegesis, which comes to us from the theoreticians of cinematographic narrative.”
- In contemporary narratology and film theory, the word has stabilized around its spatial sense: the diegesis is the world, not the telling
- Diegetic Level
- The taxonomy derives from Gérard Genette's systematic account of narrative voice
This sourceGenette's three-level narratological taxonomy (extradiegetic, intradiegetic, metadiegetic), which the book does not itself apply to Frankenstein.
SupportedVerified against the work's full text
“GERARD GENETTE Narrative Discourse”
- The taxonomy derives from Gérard Genette's systematic account of narrative voice
- Focalisation
- Foreshadowing Cue
- Fiction and drama — the home turf: a remark, object, or habitual gesture planted unobtrusively in an early scene gains causal or interpretive weight when later events activate it, threading from Sophocles to contemporary television
This sourceGenette's 'advance mention' — a planted early marker that acquires its significance only later on, which he places in the classic art of 'preparation'.
Supported in partVerified against the work's full text
“simple markers without anticipation, even an allusive anticipation, which will acquire their significance only later on and which belong to the completely classic art of”
- Fiction and drama — the home turf: a remark, object, or habitual gesture planted unobtrusively in an early scene gains causal or interpretive weight when later events activate it, threading from Sophocles to contemporary television
- Narrative Pace
Mechanisms¶
Verification¶
Does it exist? Not checked yet. This entry carries no identifier to resolve. It was extracted from the citation as written in the article, normalized, and deduplicated against the rest of the registry.
Does it back the claim? Read against the text for 5 of 9 citations: 3 supported, 2 supported in part. Each verdict is shown under its citation below, with what in the work backs the sentence.
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Links previously used in the corpus¶
Before the registry existed this work was also linked 3 other ways.
- https://archive.org/details/NarrativeDiscourseAnEssayInMethod ×1
- https://search.worldcat.org/title/Narrative-discourse-%3A-an-essay-in-method/oclc/421894371 ×1
- https://studylib.net/doc/26078919/genette-narrative-discourse ×1
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