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e
is
giv
en:
Lu
cie
Gu
ille
me
Narratology tte
an
d By Lucie Guillemette
Cy Université du Québec à Trois-Rivières
nth lucie_guillemette@uqtr.ca
ia1. ABSTRACT
LéIn order to understand narratology's contribution to semiotics, it is important to grasp the
ves distinction between its three fundamental entities: story, narrative and narration. The story
qugenerally corresponds to a series of events and actions that are told by someone (the
enarrator), and represented in some final form, producing a narrative. As a field of study,
(20 narratology looks at the internal mechanisms of narrative, the form taken by a narrated
06) story.
,
«In the field of narrative discourse, we endeavour to identify the common, near-universal
Th Naprinciples of text composition. Thus, we attempt to discern what relations are possible
errabetween the elements of the narrative/story/narration triad. These relations operate within
Da tolfour analytical categories: mood, the narrative instance, level and time.
iry og
W y»
om , in 2. THEORY
an Lo
an uis2.1 ORIGINS AND FUNCTION
dHé
the Gérard Genette's work (1972 and 1983) fits into the German and Anglo-Saxon academic
ber
Crttradition, and is intended to serve as both a culmination and a renewal of this school of
oc narratological criticism. We should point out that internal analysis, like any semiotic
(dianalysis, exhibits two characteristics. Firstly, it is concerned with narratives as
kr.),
of independent linguistic objects, detached from their context of production and reception.
SiSecondly, it aims to reveal an underlying structure that can be identified in many different
Mi gn
lkonarratives.
Jea Using a rigorous typology, Genette has developed a theory of narratological poetics that
[on
nlinmay be used to address the entire inventory of narrative processes in use. According to
de
Th Genette, every text discloses traces of narration, which can be studied in order to
e],
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eIt'l
Sh understand exactly how the narrative is organized. The approach advocated here clearly
Ri
Fo
He
lTh
mil
mi
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oul addresses a level that lies below the threshold of interpretation, and as such, it constitutes
mo
erusa solid foundation, complementing other research being done in the social sciences, e.g.,
nta
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so in sociology, literary history, ethnology and psychoanalysis..
kiIa
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To
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Cr (QNOTE: NARRATOLOGY: BETWEEN TEXTUALISM AND PRAGMATICS
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thi itAs a typology of narrative, Gérard Genette's theory of narratology is regarded by many
ue
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m
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ns bespecialists in the field as a reading method that marks an important milestone in the
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Nconcept through which all the other categories are articulated, Genette engages the context
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Eof production as a fundamental element.
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N
A a NARRATIVE MOOD
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sed
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AT
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EWhen a text is written, technical choices must be made in view of producing a particular
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ay,
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ld
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ta-
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Eresult in the story's verbal representation. In this way, the narrative employs distancing
sig
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rgu
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EN
AT
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to
ef
sh
thu
thi
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we
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ee
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ch
tha
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it
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ck
eful
hu
sher
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off
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Egand other effects to create a particular narrative mood that governs "the regulation of
no
N.
erit
Dir
bse
AT
mil
it
wn
pa
ski
soes
nki
'd
jus
me
tdmy
bra
se
our
ng
ma
ke
ens
ey
thu
sba
tha
sto
no
tle
us,
re
nthe
yto
ght
fro
edo
hn mo
olo
erp
ern
lev
nic
die
ieg
TS
PE
Re
rra
Ex
IV
Ze
ter
ta-
an
ed
eg
ne
M
of
h,
ic
O
N
C
E enarrative information" provided to the reader (1980, p. 41). According to Genette, all
se
Sp
AT
por
kMe
wo
ce
rt
tur
ng
use
mo
,"
ho
the
npig
de
wil
sta
wit
e,dkes
tnd
ry
w
sCo
all
tha
sw
fro
us
we
ev
m
ch
wn
me
Cl ind
nar
nia
gic
get
ola
RS
nal
die
ET
Int
tea
ect
Pri
Ex
Ev
DI
tiv
IN
tra
IV
tiz
ati
eti
qu
ou
de
M
ro
el
al
A
Y
C
Edenarrative is necessarily diegesis (telling), in that it can attain no more than an illusion of
mi
en
EG
RR
AL
rati
Sin
uld
wa
tha
re
ne
har
the
no
st
sai
use
fox
of
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me
up
an
tak
tos
ver
be
its
ck
ndre
eet
m
in
ca
er
his
eri
on
to
od eta
nar
PO
ing
foc
OF
tra
ma
ent
ted
get
An
Bo
ST
PE
ra-
Re
ire
ta-
Su
on
ra
ch
ed
M
Pr
or
N
al
ic
O
Edces-lmimesis (showing) by making the story real and alive. Thus, every narrative implies a
o.c
cer
NT
rati
urg
AL
NE
spe
fun
AT
aEV
n't
tsno
mo
do
su
wil
its
nt
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dher
ing
sed
yfor
ca
na
aig
Sp
am
the
est
nour
kn
thr
sh
my
rea
ins die
nar
CT
gul
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ole
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ale
Ell
Re
Ex
SP
BJ
Ite
on
ali
Sc
ic,
ve
TI
pe
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er
mO
ct
A
V
RaI-narrator.
om
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spe
YZ
NT
VE
DE
EN
rati
cro
roc
del
qui
pic
out
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ubt
nn
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EE
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psi
ips
ldr
("I
OI
rat
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cti
Pa
ati
ve
en
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M
ac
O.For Genette, then, a narrative cannot in fact imitate reality, no matter how realistic; it is
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