Narratology: An Introduction

Narratology: An Introduction

Narratology: An Introduction

Narratology: An Introduction

Synopsis

This text introduces narratology, its key concepts and the analytical tools which are widely used in the interdisciplinary analysis of such narrative features as plot, point of view, speech presentation, ideological perspective and interpretation.

Excerpt

The outlines of contemporary critical theory are now often taught as a standard feature of a degree in literary studies. The development of particular theories has seen a thorough transformation of literary criticism. For example, Marxist and Foucauldian theories have revolutionised Shakespeare studies, and 'deconstruction' has led to a complete reassessment of Romantic poetry. Feminist criticism has left scarcely any period of literature unaffected by its searching critiques. Teachers of literary studies can no longer fall back on a standardised, received methodology.

Lecturers and teachers are now urgently looking for guidance in a rapidly changing critical environment. They need help in understanding the latest revisions in literary theory, and especially in grasping the practical effects of the new theories in the form of theoretically sensitised new readings. A number of volumes in the series anthologise important essays on particular theories. However, in order to grasp the full implications and possible uses of particular theories it is essential to see them put to work. This series provides substantial volumes of new readings, presented in an accessible form and with a significant amount of editorial guidance.

Each volume includes a substantial introduction which explores the theoretical issues and conflicts embodied in the essays selected and locates areas of disagreement between positions. The pluralism of theories has to be put on the agenda of literary studies. We can no longer pretend that we all tacitly accept the same practices in literary studies. Neither is a laissez-faire attitude any longer tenable. Literature departments need to go beyond the mere toleration of theoretical differences: it is not enough merely to agree to differ; they need actually to 'stage' the differences openly. The volumes in this series all attempt to dramatise the differences, not necessarily with a view to resolving them but in order to foreground the choices presented by different theories or to argue for a particular route through the impasses the differences present.

The theory 'revolution' has had real effects. It has loosened the grip of traditional empiricist and romantic assumptions about language and literature. It is not always clear what is being proposed as the new agenda for literary studies, and indeed the very notion of 'literature' is questioned by the post-structuralist strain in theory. However, the uncertainties and obscurities of contemporary theories appear much less worrying when we see what the best critics have . . .

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