Narrative

Grennan, Simon

doi:10.1057/978-1-137-51844-6_2

Simon Grennan²

Part of the book series: Palgrave Studies in Comics and Graphic Novels ((PSCGN))

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Abstract

Grennan provides a balanced summary of existing theories and methods in the study of storytelling, providing a new explanation of the structure of story and discourse, according to established descriptions of intersubjectivity. He explicitly encompasses his explanation of the experience of drawing, visual depiction and imagination (made in Chapter 1) within this intersubjective description of narrative, focusing specifically on the experience of visual narrative. On this basis, Grennan presents a new epistemological system of discourse characterised as narrative.

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Notes

1.
For the former, see for example Merleau-Ponty. The Primacy of Perception and other Essays and Schütz. The Phenomenology of the Social World. For the latter, see for example Goffman. The Presentation of Self in Everyday Life, Mead. Mind, Self, Society, Katz. How Emotions Work.
2.
Schütz. The Phenomenology of the Social World and Gibbs. Embodiment and Cognitive Science.
3.
Crossley. Intersubjectivity: The Fabric of Social Becoming.
4.
For the former, see for example Chomsky. Language and Mind, Lévi-Strauss. Myth and Meaning. For the latter, see for example Peirce. Collected Papers: Volume V. Pragmatism and Pragmaticism and De Saussure. Course in General Linguistics.
5.
Schütz. Collected Papers 3: Studies in Phenomenological Philosophy. 90.
6.
Hegel. The Phenomenology of Spirit. 11.
7.
Kojève. Introduction to the Reading of Hegel and Honneth. The Struggle for Recognition.
8.
Husserl. Cartesian Meditations: An Introduction to Phenomenology.
9.
Ibid. 89.
10.
Merleau-Ponty. The Visible and the Invisible. 142.
11.
Merleau-Ponty. The Phenomenology of Perception. 53.
12.
Merleau-Ponty. The Visible and the Invisible. 269.
13.
Merleau-Ponty. The Phenomenology of Perception. 354.
14.
Schutz. Collected Papers 3: Studies in Phenomenological Philosophy.
15.
Mead. Mind, Self, Society.
16.
Ibid. 196.
17.
In fact, Crossley describes two aspects, one arising from the other. He distinguishes between ‘radical’ and ‘egological’ levels. ‘Egological’ intersubjectivity includes the capacity for reflection as a type of perceptual engagement. Crossley bases his ‘radical’ level in descriptions made by Hegel and Husserl. He utilizes insights made by Merleau-Ponty and Schütz to reconcile these descriptions. The ‘egological’ level subsumes the ‘radical’ level’. However, his description of the ‘radical’ level, also relies upon his cross-reading of these theorists and others. In particular, the ideas of Schütz are more clearly discernible in his ‘radical’ description than the ideas of Husserl. The terms in quotation here are terms of Crossley’s ‘radical’ intersubjectivity. Crossley. Intersubjectivity: The Fabric of Social Becoming.
18.
Ibid. 26.
19.
For example, see Bühler. Theory of Language: The Representational Function of Language, Jakobson. Verbal Art, Verbal Sign, Verbal Time, Ricoeur. Time and Narrative, Meister. Narratology beyond Literary Criticism: Mediality–Disciplinarity, Halliday. Linguistic Studies of Text and Discourse and Kress. Multimodality: A Social Semiotics Approach to Contemporary Communication.
20.
Cobley claims that the capacity for perceiving our own actions as though they were the actions of other people is a primary condition of narrative, enabling us to establish a subjective identity in relation to others. Cobley. Narrative.
21.
Ibid. 9.
22.
Prince. Dictionary of Narratology. 60.
23.
Ibid.
24.
Ibid. 58.
25.
Benveniste. Problems in General Linguistics.
26.
Chatman. Story and Discourse.
27.
Genette. Narrative Discourse: An Essay in Method and Prince. Dictionary of Narratology. 66.
28.
Todorov. The Poetics of Prose and Todorov. The Fantastic.
29.
Freytag. Techniques of the Drama.
30.
Shklovski. Theory of Prose.
31.
White. Tropics of Discourse: Essays in Cultural Criticism, 122.
32.
Bakhtin. The Dialogic Imagination: Four Essays.
33.
Genette. Narrative Discourse: An Essay in Method and Genette. Narrative Discourse Revisited.
34.
Groensteen. ‘The Monstrator, the Recitant and the Shadow of the Narrator.’
35.
Barthes. S/Z.
36.
Todorov. The Poetics of Prose. 87.
37.
Propp. Morphology of the Russian Folktale.
38.
Lévi-Strauss. Myth and Meaning, Bremond. ‘A Critique of the Motif’ and Greimas. Structural Semantics: An Attempt at a Method.
39.
de Saussure. Course in General Linguistics.
40.
Ricoeur. ‘Narrative Time.’
41.
Ibid. 181.
42.
Jakobson. ‘Closing Statement: Linguistics and Poetics.’
43.
Iser. Prospecting: From Reader Response to Literary Anthropology. 31.
44.
Rimmon-Kenan. Narrative Fiction: Contemporary Poetics.
45.
Fish. Is there a Text in this Class? The Authority of Interpretive Communities and Cobley. Narrative.
46.
Vološinov. Marxism and the Philosophy of Language.
47.
Asher and Lascarides. Logics of Conversation.
48.
That is, as a consequence of referring to some other experience of the ecology, not simply in making a proposition, true or false.
49.
Lascarides and Stone. ‘Discourse Coherence and Gesture Interpretation.’
50.
Kehler. Coherence, Reference and the Theory of Grammar.
51.
Carberry. Plan Recognition in Natural Language Dialogue.
52.
Cohen and Perrault. ‘Elements of a Plan-Based Theory of Speech Acts.’
53.
Bunt and Romary. ‘Towards Multimodal Content Representation.’
54.
Bakhtin. Speech Genres and Other Late Essays. 91, 76 and 78.
55.
Bunt. ‘Dialogue Pragmatics and Context Specification.’
56.
Abbate. Unsung Voices: Opera and Musical Narrative in the Nineteenth Century. 14.
57.
Prince. Dictionary of Narratology. 59.
58.
Abbate. Unsung Voices: Opera and Musical Narrative in the Nineteenth Century. 14.
59.
Forster. Aspects of the Novel. 86.
60.
Venn. ‘On the Diagrammatic and Mechanical Representation of Propositions and Reasonings.’
61.
Lacey. Narrative and Genre: Key Concepts in Media Studies. 16.
62.
Mitchell. On Narrative. 111.
63.
Benveniste. Problems in General Linguistics. 208.
64.
Abbate. Unsung Voices: Opera and Musical Narrative in the Nineteenth Century. 199.
65.
Cobley. Narrative. 219.
66.
See Todorov. The Poetics of Prose and Abbate. Unsung Voices: Opera and Musical Narrative in the Nineteenth Century.
67.
Lefèvre. ‘The Construction of Space in Comics.’ 157.
68.
Plato. The Republic.
69.
Abbate. Unsung Voices: Opera and Musical Narrative in the Nineteenth Century. 54.
70.
Genette, Narrative Discourse Revisited, 18, 43, 45.
71.
Kukkonen, ‘Comics as a Test Case for Transmedial Narratology.’
72.
Abbate. Unsung Voices: Opera and Musical Narrative in the Nineteenth Century. 27.
73.
Ibid. 123.
74.
Ricoeur, Time and Narrative.
75.
Abbate. Unsung Voices: Opera and Musical Narrative in the Nineteenth Century. 11.
76.
Katz. How Emotions Work.
77.
Genette. Narrative Discourse Revisited. 141.
78.
Cobley. Narrative. 118.

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University of Chester, Chester, United Kingdom
Simon Grennan

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Grennan, S. (2017). Narrative. In: A Theory of Narrative Drawing. Palgrave Studies in Comics and Graphic Novels. Palgrave Macmillan, New York. https://doi.org/10.1057/978-1-137-51844-6_2

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DOI: https://doi.org/10.1057/978-1-137-51844-6_2
Published: 19 April 2017
Publisher Name: Palgrave Macmillan, New York
Print ISBN: 978-1-137-52165-1
Online ISBN: 978-1-137-51844-6
eBook Packages: Literature, Cultural and Media StudiesLiterature, Cultural and Media Studies (R0)

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