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The observation that many scholars in different disciplines are interested in the processes, results and functions of storytelling is frequently interpreted and welcomed by narrative theorists as a move towards interdisciplinarity. “Edna’s Suicide: The Problem of the One and the Many”. Given the annual number of new monographs, anthologies and articles devoted to questions of narrative theory, it stands to reason to adopt a term coined by Manfred Jahn and Ansgar Nünning (1994: 300) and to speak of a “narratological industry” that is currently experiencing boom conditions. However, it is high time that narratologists made more sustained efforts to contextualize the texts that they subject to such close scrutiny, and to historicize their critical practice: in short, to demonstrate “the usefulness of narratology” (Bal 1990: 729)—something that Gabriele Helms, for instance, has convincingly done in her seminal culturalnarratological monograph Challenging Canada. “The Point of Narratology.” In: Poetics Today 11:4, p. If one defines interdisciplinarity as a mutually enriching exchange of findings and ideas, based on shared research interests and concepts, however, there is little evidence of such a transcending, let alone erosion, of disciplinary boundaries. As is well known, once a field of study in the humanities becomes the object of increased attention it runs the risk of decreased unity. Dialogism and Narrative Technique in Canadian Novels (2003).14 The pace at which the proliferation of new narratologies has been proceeding testifies to the current “return to narratology” (Bal 1999: 19, 39), but it also shows that it is still too early to assess the usefulness and success of the various contextualist approaches that have recently been developed. Even though more work is forthcoming in this field (see Klein/Martínez 2009), we are still far from ‘integrating’ narrative research in the sense of coordinating core interests, research questions and key findings in a concerted effort to move beyond the current ‘Babelization’ of narrative studies. Lanser’s 1986 manifesto for a ‘feminist narratology’4 and has, since then, been taken up in several contributions that argue for a reorientation of narrative theory, e. in the proposals for a ‘historical narratology’, a ‘postcolonial narratology’, or a ‘cultural/intercultural narratology’.5 In my view, the claim should be rejected; in the next paragraphs I shall explain why. There is a third, institutional reason for the scarcity of truly interdisciplinary dialogue. 2 3 4 5 For a list of these features, see Nünning (2003: 243-244). Thus, the epistemological status of narratives varies among the disciplines: whereas the analysis of life stories is a means to an end in narrative psychology, for instance, ‘classical’ narratology is traditionally interested in the nature of narrative in general, trying to define regularities and recurrent features which are shared by all narratives. I will proceed by successively addressing what seem to be the two basic varieties of the expansionist claim with regard to narratology. (Bender 1995: 33) As far as the promises of a contextualist and cultural narratological framework are concerned, what is arguably more important than anything else, therefore, is that such a framework should draw narratologists’ and cultural theorists’ attention to issues that are of crucial importance in an age both of interdisciplinary narrative research and of inter-, multi- and trans-culturalism. As a consequence, most research questions which are at the centre of the narratological debate are simply too theoretical for scholars interested in storytelling as a marketing tool or in narrative interviews as a method of data collection. The first part of this essay will criticize the idea of transforming narratology into a foundational theory within the domain of literary studies, suitable in particular to guiding and evaluating the interpretation of literary texts. With regard to interdisciplinary cooperation, the framework delineated above opens up new possibilities for fruitful collaborative ventures between narratology and narrative inquiry in other areas and disciplines like cultural history, cultural memory studies, psychology, ritual studies, and interdisciplinary research into identity-formation. This content was uploaded by our users and we assume good faith they have the permission to share this book. The editors wish to thank Wolfgang Schmid, the executive editor of the Narratologia series, for his generous support, and the external reviewers (whoever they are) for their very helpful suggestions. It is not only the problem of the reception of literary character that inevitably draws critics’ attention to the interrelationship between ethics and aesthetics, but also the key questions asked by postcolonial, feminist, and Afro-American studies. If you own the copyright to this book and it is wrongfully on our website, we offer a simple DMCA procedure to remove your content from our site. Report copyright / DMCA form Narratology in the Age of Cross-Disciplinary Narrative Research Narratologia Contributions to Narrative Theory Edited by Fotis Jannidis, Matı´as Martı´nez, John Pier Wolf Schmid (executive editor) Editorial Board Catherine Emmott, Monika Fludernik ´ Jose´ Angel Garcı´a Landa, Peter Hühn, Manfred Jahn Andreas Kablitz, Uri Margolin, Jan Christoph Meister Ansgar Nünning, Marie-Laure Ryan Jean-Marie Schaeffer, Michael Scheffel Sabine Schlickers, Jörg Schönert 20 ≥ Walter de Gruyter · Berlin · New York Narratology in the Age of Cross-Disciplinary Narrative Research Edited by Sandra Heinen Roy Sommer ≥ Walter de Gruyter · Berlin · New York 앝 Printed on acid-free paper which falls within the guidelines 앪 of the ANSI to ensure permanence and durability. We would also like to thank Anne-Catherine Höffer, who helped prepare the layout for this volume, Joseph Swann for his translations and careful proof-reading, Manfred Link for his work on the manuscript and Manuela Gerlof at de Gruyter. Moreover, cultural and historical analyses of narratives require thicker descriptions than those offered by structuralist narratology, descriptions which take into account both thematic and formal features of texts and the ways in which epistemological, ethical, and social problems are articulated in the forms of narrative representations: “The political enters the study of English primarily through questions of representation: who is represented, who does the representing, who is object, who is subject—and how do these representations connect to the values of groups, communities, classes, tribes, sects, and nations? Kulturspezifische Inszenierungen von Erinnerung in zeitgenössischen Romanen autochthoner Autor/innen Australiens, Kanadas und Neuseelands.

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88 MONIKA FLUDERNIK The Cage Metaphor: Extending Narratology into Corpus Studies and Opening it to the Analysis of Imagery ........ Moreover, historiographic metafiction often challenges hegemonic cultural discourses by recontextualizing them and offering alternative versions, thus foregrounding the epistemological and ethical questions involved in writing history (see Kotte 2001). 109 WOLFGANG HALLET The Multimodal Novel: The Integration of Modes and Media in Novelistic Narration.................................................. Using historiographic metafiction as a case-study, I have attempted to demonstrate that the analytical tools provided by classical narratology can be of great use for the cultural analysis and context-sensitive interpretation of historiographic metafictions (and of course of other narratives), as well as for the further concerns of contemporary ‘postclassical’ narratologies, including generic categorization.12 The narratological categories that are particularly helpful in the attempt to come to terms with the epistemological, historiographic and ethical implications of postmodern historical novels—but arguably also of novels from other periods and cultures—include the structure of narrative transmission, especially unreliable narration, and the notion of the perspective structure of narrative texts.13 5. 129 PETER VERSTRATEN Between Attraction and Story: Rethinking Narrativity in Cinema............................................................................................ Potentials of a Contextualist and Cultural Narratological Framework: The Opening of Narratology to Cultural History, Economics and Politics What’s the point, then, of a contextualist or cultural narratology? N385 2009 4011.41⫺dc22 2009026537 ISBN 978-3-11-022242-5 ISSN 1612-8427 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at KG, D-10785 Berlin All rights reserved, including those of translation into foreign languages. The study of the ideology of form is no doubt grounded on a technical and formalistic analysis in the narrower sense, even though, unlike much traditional formal analysis, it seeks to reveal the active presence within the text of a number of discontinuous and heterogeneous formal processes. BO PETTERSSON Narratology and Hermeneutics: Forging the Missing Link......... Key narratological concepts like focalization, unreliable narration, and narrative perspective have proved very fine descriptive tools, but they need to be applied before they can yield the insights considered vital for literary and cultural history.

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