First, insisting on division between real author, implied author, and narrator avoids the authorial or intentional fallacy-the notion that an author’s intentions should limit or control the ways a text is interpreted-which can severely restrict the creativity of student essays. What is gained by adopting this onion-like, semiotic model of storytelling? Why bother distinguishing implied authors from real or from narrators? This is the most jargon-heavy section of our textbook, but narrative theory provides a few key benefits to students studying fiction. Similarly, every narrative has an implied reader, which is the ideal reader addressed by narrative discourse. 2 Every narrative has an implied author, even if it does not have a real author (e.g., a computer-generated text) or it has many of them (e.g., collaborative fiction). It is simply the organizing principle of discourse, which includes the narrator and the other aspects of the narration. The implied author does not tell anything it does not have a voice. It is important in this sense to distinguish the implied author from the narrator of the story. The ‘implied author’ 1 is implied because it does not have an explicit or independent reality, as the real author does, but must be reconstructed by the reader from the narrative itself. Narrative discourse is the communication between the implied author and the implied reader of a narrative (see #Fig. Narration is part of discourse, which constitutes the second level in our semiotic model of narrative. This is what we call narration, a communicative act that does not happen in the storyworld or at the level of the story. But the storyworld only comes to exist because someone (a narrator) tells a story to someone else (a narratee). So far, we have analyzed the main constituents of the story, or, as we have called them, the existents of the storyworld: events, environments, and characters.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |