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Narrative criticism focuses on the stories a speaker or a writer tells to understand how they help us make meaning out of our daily human experiences. Narrative theory is a means by which we can comprehend how we impose order on our experiences and actions by giving them a narrative form. According to Walter Fisher,[1][page needed] narratives are fundamental to communication and provide structure for human experience and influence people to share common explanations and understandings (58). Fisher defines narratives as “symbolic actions-words and/or deeds that have sequence and meaning for those who live, create, or interpret them.” Study of narrative criticism, therefore, includes form (fiction or non-fiction, prose or poetry), genre (myth, history, legend, etc.), structure (including plot, theme, irony, foreshadowing, etc.) characterization, and communicator’s perspective.

Characteristics of a narrative were defined as early as Aristotle in his Poetics under plot.[2] He called plot as the “first principle” or the “soul of a tragedy.” According to him, plot is the arrangement of incidents that imitate the action with a beginning, middle, and end. Plot includes introduction of characters, rising action and introduction of complication, development of complication, climax (narrative), and final resolution. As described by White (1981)[3][page needed] and Martin (1986),[4][page needed] plot involves a structure of action. However, not all narratives contain a plot. Fragmentation occurs as the traditional plot disappears, narratives become less linear, and the burden of meaning making gets shifted from the narrator to the reader.[5][page needed]

Narratives can be found in a range of practices such as novels, short stories, plays, films, histories, documentaries, gossip, biographies, television and scholarly books.[6][page needed] All of these artifacts make excellent objects for narrative criticism. When performing a narrative criticism, critics should focus on the features of the narrative that allow them to say something meaningful about the artifact. Sample questions from Sonja K Foss[7]Template:Pg.312-313 offer a guide for analysis:

  • Setting – How does the setting relate to the plot and characters? How is the particular setting created? Is the setting textually prominent – highly developed and detailed – or negligible?
  • Characters (Persona) – Are some of the characters non-human or inanimate phenomena, described as thinking and speaking beings? In what actions do the characters engage? Are the characters round (possess a variety of traits, some of them conflicting or contradictory) or flat (one or a few dominant traits making the character predictable)?
  • Narrator – Is the narrative presented directly to the audience, or is it mediated by a narrator? What makes the narrator intrusive or not? What kind of person is the narrator (examine his or her ethos)?
  • Events – What are the major and minor events? How are the events presented? Are the events active (expressing action) or stative (expressing a state or condition)?
  • Temporal relations – Do events occur in a brief period of time or over many years? What is the relationship between the natural order of the events as they occurred and the order of their presentation in the telling of a narrative? Is the story in past or present tense?
  • Causal relations – What cause-and-effect relationships are established in the narrative? Are events caused largely by human action, accident, or forces of nature? In how much detail are the causes and effects described?
  • Audience – Is the audience a participant in the events recounted? What can be inferred about the audience’s attitudes, knowledge, or situation from the narrative? What seems to be the narrator’s evaluation of the audience’s knowledge, personality, and abilities?
  • Theme – What is the major theme (general idea illustrated by the narrative) of the narrative? How is the theme articulated? How obvious and clear is the theme?
  • Limitations: Traditional narrative criticism focuses primarily on the narrative and does not take the socioeconomic and political background into consideration; however, it is not opposed to New-Historicism theory. In addition, it does not take the narrator's motivations into consideration as it focuses on the narrative to generate the analysis. Also, as the critic looks at the overall unity of the narrative, the theory is not conducive to deconstruction techniques (19-20).[8]

References[edit]

  1. ^ Fisher, Walter (1987), Human Communication as Narration: Toward a Philosophy of Reason, Value, and Action, Columbia: U of South Carolina P .
  2. ^ Aristotle, "VI–VII", Poetics .
  3. ^ White, H (1981), Mitchell, WJT, ed., On Narrative, Chicago: U of Chicago P .
  4. ^ Martin, W (1986), Recent Theories of Narrative, Ithaca, NY: Cornell UP .
  5. ^ McGee, Michael Calvin; Nelson, John S; Sizemore, Michael (1990), Narrative Reason in Public Argument .
  6. ^ Jasinski, James (2001), Sourcebook on Rhetoric, California: Sage .
  7. ^ Foss, Sonja K (2004), Rhetorical Criticism: Exploration and Practice, Illinois: Waveland .
  8. ^ Yee, Gale. Judges and Method: New Approaches in Biblical Studies. Minneapolis, Fortress, 2007.

External links[edit]


Original courtesy of Wikipedia: http://en.wikipedia.org/wiki/Narrative_criticism — Please support Wikipedia.
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10 news items

Game Informer

Game Informer
Wed, 03 Dec 2014 08:52:30 -0800

The Dark Below aims to respond to some of the narrative criticism received by the initial launch of the game, and offer a more interconnected approach to storytelling than before. I experienced the nature of this story firsthand, and the resulting ...
 
Patheos (blog)
Sun, 05 Jan 2014 05:07:30 -0800

Awhile ago I introduced the brand new second edition of the Dictionary of Jesus and the Gospels (IVP Bible Dictionary) in a couple of posts. In the first I introduced the volume generally, and in the second I compared the article on the “Quest for the ...
 
Patheos (blog)
Thu, 17 Oct 2013 18:33:04 -0700

It is a mixture of narrative criticism, reader-response criticism, and historical-criticism. If meaning is located in the “fusion” of author, text, and reader, then we need to bring in the readers (implied, ideal, fictitious real, and reception-history ...
 
ChristianityToday.com
Sat, 21 Apr 2012 13:08:48 -0700

Colson's public commitment to his faith drew initial skepticism from those who wondered whether he was attempting to profit from a conversion narrative. Criticism faded over time with his 30-plus years of commitment to prison ministry. "The most ...

Gameranx

Gameranx
Tue, 10 Sep 2013 12:40:51 -0700

But it seems that for some narrative criticism occupies a different space, when it's really no different at all. This is why Cara Ellison's initial criticism of Hotline Miami 2 was so crucial, and so necessary, despite the rage with which her criticism ...
 
Huffington Post (blog)
Wed, 11 Jan 2012 09:18:24 -0800

And so far, nobody has come up with a credible argument in favor of quantitative rating (of which the 100 point system is most prevalent and influential) being in any way superior to a clearly subjective system of narrative criticism. The arguments in ...

Rocket Chainsaw

Rocket Chainsaw
Tue, 16 Apr 2013 18:18:45 -0700

My only other narrative criticism is the game finishes far too abruptly. Relying wholly on previous knowledge, Judgment's ending unfortunately lacks any context or finesse. The finely tuned gameplay of the Gears series returns, albeit more polished ...
 
Il Sole 24 Ore
Sat, 14 Sep 2013 23:45:00 -0700

Alla base di questa nuova impostazione narratologica detta del «narrative criticism» c'è un saggio apparso l'anno prima di quello di Eco, ossia Story and Discourse di Seymour Chatman, tradotto in italiano da Pratiche (Storia e discorso, Milano 1998, II ...
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