Tzvetan Todorov’s NarratoTzvetan Todorov’s Narratology logy

2003/10/72003/10/7

OutlineOutline

General QuestionsGeneral Questions Narratology and Todorov Narratology and Todorov “ “The Structure of Narrative” The Structure of Narrative” Examples Examples

General QuestionsGeneral Questions

What are the possible basic What are the possible basic structures of narratives? structures of narratives?

What are the functions in getting the What are the functions in getting the basic structures? And the possible basic structures? And the possible limitations? limitations?

Structuralist NarratologyStructuralist Narratology Narratology – the science of narrative; popularNarratology – the science of narrative; popular

ized in 1970’s. ized in 1970’s. Contemporary narratologyContemporary narratology includes comparati includes comparati

ve narratolgy, theories of authorship, enunciatve narratolgy, theories of authorship, enunciation, action, story and narration, reception, selion, action, story and narration, reception, self-referentiality and intertextuality. f-referentiality and intertextuality.

Applied narratology:Applied narratology: psychoanalysis, gender st psychoanalysis, gender studies, reader-response, ideological critique.udies, reader-response, ideological critique.

NarratologyNarratology

HistoryHistory

authors narratorauthors narrator narrative readernarrative reader

Social contexts,

cultural conventions

Literary Traditions

Formal analytic frameworks

(literary, linguistic, interdisciplinary)

3. Point-of-view

5. semiologoist, marxists

4. reader-response

2. Russian formalists

Martin 29

Structuralist Narratology: Major TheStructuralist Narratology: Major Theorists orists

Levi Strauss – four terms (2 sets of binaries)Levi Strauss – four terms (2 sets of binaries) V. Propp –7 spheres of actions (Villain, hero, false hero,V. Propp –7 spheres of actions (Villain, hero, false hero,

sought-for person, etc.) and 31 functions out of Russa sought-for person, etc.) and 31 functions out of Russain fairy talesin fairy tales

T. Todorov –focuses more on syntax; T. Todorov –focuses more on syntax; Greimas –focuses on semantics (actants—Subject/ObjGreimas –focuses on semantics (actants—Subject/Obj

ect, Sender/Receiver, Helper/Opponent, and 3 structuect, Sender/Receiver, Helper/Opponent, and 3 structures—contractual, performative, disjunctive)res—contractual, performative, disjunctive)

Claude Bremond -- virtuality (a situation opening a poClaude Bremond -- virtuality (a situation opening a possibility); actualization or nonactualization of the possssibility); actualization or nonactualization of the possibility; achievement or nonachievement. ibility; achievement or nonachievement.

Roland Barthes – 5 different codes (S/Z). Roland Barthes – 5 different codes (S/Z). etc. etc.

Structuralist Narratology: Possible Structuralist Narratology: Possible Criticisim Criticisim

Reductive; Reductive; too static and unable to characterize the very engine thtoo static and unable to characterize the very engine th

at drives a narrative forward to its end, the very dynamat drives a narrative forward to its end, the very dynamics that dictate its shape. ics that dictate its shape.

Ignore context –depends on how it is used; Ignore context –depends on how it is used; The possibility of The possibility of a coherent narratologya coherent narratology, one that succ, one that succ

essfully integrates the study of the essfully integrates the study of the whatwhat and the and the way,way, h has been put into question by poststructuralist theorists as been put into question by poststructuralist theorists and critics invoking the so-called double logic of narratand critics invoking the so-called double logic of narrative (e.g. story and discourse, event and meaning). ive (e.g. story and discourse, event and meaning).

(Ref. (Ref. http://www.press.jhu.edu/books/hopkins_guide_to_literary_theory/narrhttp://www.press.jhu.edu/books/hopkins_guide_to_literary_theory/narratology.htmlatology.html ) )

T. TodorovT. Todorov

3 aspects of the narrative: semantic, syntactic 3 aspects of the narrative: semantic, syntactic and verbal (Todorov’s focus is more on syntand verbal (Todorov’s focus is more on syntax.)ax.)

Grammar of narrative –sentence structure witGrammar of narrative –sentence structure with the following basic units: h the following basic units:

1. 1. Propositions and sequencesPropositions and sequences//sentences and //sentences and paragraphsparagraphs

2. parts of speech – 2. parts of speech – characters as nouns; their characters as nouns; their attributes as adjectives, actions as verbs. attributes as adjectives, actions as verbs.

T. Todorov:T. Todorov: “Structural Analsys of Narrative” “Structural Analsys of Narrative”

OutlineOutline1.1. Structural approach to literature definStructural approach to literature defin

ed; ed; 2.2. Exemplified by his analysis of plot in DeExemplified by his analysis of plot in De

cameron; cameron; 3.3. The nature of narrative and the principThe nature of narrative and the princip

les of its analysis. les of its analysis.

I. Structural approach to literature dI. Structural approach to literature definedefined

Theoretic but not descriptive, logical but not spatial. Theoretic but not descriptive, logical but not spatial. (2099)(2099)

Different from both Marxism (external, an abstract strDifferent from both Marxism (external, an abstract structure out side of the work) and New Criticism (internucture out side of the work) and New Criticism (internal).al).

Structuralism – “its object is the literary discourse ratStructuralism – “its object is the literary discourse rather than works of literature, literature that is virtual raher than works of literature, literature that is virtual rather than real.” (2100). ther than real.” (2100).

New Criticism New Criticism (description)—(description)—articulates a paraphrase; articulates a paraphrase; Structuralist Structuralist (poetics)(poetics) – lit. works – lit. works abstract literary p abstract literary p

roperties roperties

I. Structural approach – further comI. Structural approach – further compared with pared with modernistmodernist views views

Henry James – p. 2101 -- disagrees with 1) Henry James – p. 2101 -- disagrees with 1) isolating a text’s dialogue, description for isolating a text’s dialogue, description for analysis; 2) disregarding the novel as ‘a living analysis; 2) disregarding the novel as ‘a living thing, all one and continuous.’thing, all one and continuous.’

T’s responses – T’s responses – 1)1) A theoretical concept (e.g. temperature) does A theoretical concept (e.g. temperature) does

not need to exist in ‘a pure state’; not need to exist in ‘a pure state’; 2)2) The fact that we find them (blood, muscle, etc) The fact that we find them (blood, muscle, etc)

together does not prevent us from distinguishing together does not prevent us from distinguishing them.)them.)

3)3) Subjectivity is inevitable in studies of humanities Subjectivity is inevitable in studies of humanities (or social science) but we can limit it. (or social science) but we can limit it.

II. Decameron II. Decameron From some stories he finds From some stories he finds 1.1. Plot unit shown as a clause; Plot unit shown as a clause; 2.2. Characters as proper nouns; with adjectives; three aCharacters as proper nouns; with adjectives; three a

ctions as verbs – violate, punish, avoid; ctions as verbs – violate, punish, avoid; 3.3. Actions with different statuses (e.g. negation)Actions with different statuses (e.g. negation)4.4. Modality – legends –imperative, fairy tale– optative, Modality – legends –imperative, fairy tale– optative,

a wish; a wish; 5.5. perceptionperception6.6. Relations between clauses (e.g. causal, temporal, spRelations between clauses (e.g. causal, temporal, sp

atial);atial);7.7. common sequence of a group of stories (punishmecommon sequence of a group of stories (punishme

nt avoided)nt avoided)

II. Decameron (2)II. Decameron (2)

8. further analysis: 8. further analysis: a. more concrete analysis of syntax a. more concrete analysis of syntax

-- each clause can be written as -- each clause can be written as an an entire sequenceentire sequence; ;

b. thematic study: study b. thematic study: study the the concrete actions; concrete actions;

c. rhetoric study: examines the c. rhetoric study: examines the verbal medium verbal medium

II. Decameron (3)II. Decameron (3)

His goal – not knowledge of DecameroHis goal – not knowledge of Decameron but an understanding of literature ann but an understanding of literature and plot. d plot.

1) avoid punishment: From equilibrium 1) avoid punishment: From equilibrium to a new equilibrium. to a new equilibrium.

2) conversion 2) conversion The story illustrates the superiority of tThe story illustrates the superiority of t

he individual over the social, or nature he individual over the social, or nature over culture. over culture.

III. ConclusionIII. Conclusion

Literature and poetics Literature and poetics (2106) Ambiguity in moving back and (2106) Ambiguity in moving back and

forth between the two poles: auto-forth between the two poles: auto-reference and its object reference and its object

II. Grammar of DecameronII. Grammar of Decameron

e.g. 3 adjectives – states, interior properties and e.g. 3 adjectives – states, interior properties and exterior conditions (status)exterior conditions (status)

3 verbs – to ‘modify’ a situation, to ‘transgre3 verbs – to ‘modify’ a situation, to ‘transgress,’ and to ‘punish.’ ss,’ and to ‘punish.’

(3 modes—indicative, predictive and obligatory, (3 modes—indicative, predictive and obligatory, 3 relations between propositions, 3 sequence3 relations between propositions, 3 sequences) s)

Ambiguity – at both the levels of proposition and Ambiguity – at both the levels of proposition and sequence. sequence.

Boccaccio – a defender of free enterprise and Boccaccio – a defender of free enterprise and even, . . . , of nascent capitalism. even, . . . , of nascent capitalism.

T. Todorov:T. Todorov: Grammar of Decameron e.g. Grammar of Decameron e.g.

Peronella’s story (of hiding her lover in a Peronella’s story (of hiding her lover in a barrel) – barrel) –

X commits a misdeed X commits a misdeed X X modifiesmodifies the sit the situation uation X is not punished. X is not punished.

T. Todorov:T. Todorov: another example another example

Given by Robert Scholes Given by Robert Scholes X – A+ (XA) opt X X – A+ (XA) opt X Xa Xa XA XA X = Boy X = Boy A = Love, to be loved by someoneA = Love, to be loved by someoneA = to seek love, to woo A = to seek love, to woo Opt X = Boy (X) wishes (opt) Opt X = Boy (X) wishes (opt) - = negation of attributes: -A lack love- = negation of attributes: -A lack love

T. Todorov:T. Todorov: another example another example

Given by Robert ScholesGiven by Robert ScholesXA + XB XA + XB X-C + YaX + (X-A+X-B X-C + YaX + (X-A+X-B XC) predX XC) predX (X (X

bY)predX+XA! bY)predX+XA! (XB+X-C)!imp (XB+X-C)!imp X –Eveline, Y – Frank,X –Eveline, Y – Frank, A—a Dubliner, B—Celibate, A—a Dubliner, B—Celibate, C—happy—respected, secure, C—happy—respected, secure, a – to offer an elopement; b-to accept elopemena – to offer an elopement; b-to accept elopemen

t t -- negative of attribute, not negative of verb -- negative of attribute, not negative of verb pred –predicts or expects, imp – is implied by dispred –predicts or expects, imp – is implied by dis

course course

T. Todorov:T. Todorov: Questions for Discussion Questions for Discussion

1.1. What could be the advantages of scientWhat could be the advantages of scientific and abstract descriptions? ific and abstract descriptions?

2.2. Can we use Todorov’s method on a nCan we use Todorov’s method on a novel such as ovel such as Heart of DarknessHeart of Darkness? Or a st? Or a story from ory from The DublinersThe Dubliners? A Hollywood f? A Hollywood film, ilm, The TitanicThe Titanic? ?

Possible Attempts Possible Attempts Chinese-American uses of traditional legends Chinese-American uses of traditional legends

(e.g. Fox, Tang-Ao) to re-write canonical histor(e.g. Fox, Tang-Ao) to re-write canonical history y as initial causes for disequilibrium; later c as initial causes for disequilibrium; later confirmed to bring up a new equilibrium;onfirmed to bring up a new equilibrium;

How/where How/where modificationmodification of situation is possibl of situation is possible.e.• The Heart of Darkness: no equilibrium, or in the finThe Heart of Darkness: no equilibrium, or in the fin

al sympathy between Kurtz and Marlow. al sympathy between Kurtz and Marlow. • The Titanic: transgression The Titanic: transgression obstacles (human and obstacles (human and

natural) natural) a new equilibrium in spiritual love and d a new equilibrium in spiritual love and death. eath.

• The Working Girl: transgression by the women (first The Working Girl: transgression by the women (first the boss and the secretary), mutual punishment, mthe boss and the secretary), mutual punishment, modification by the man. odification by the man.

T. Todorov: critique T. Todorov: critique Jonathan Culler’s critique in Jonathan Culler’s critique in Structuralist PoetStructuralist Poet

icsics • – – Modification can be done without the use of ruse or Modification can be done without the use of ruse or

deception. deception. • -- anything which modifies a situation will receive th-- anything which modifies a situation will receive th

e same structural description. e same structural description. • ““Todorov has not considered what facts his theory iTodorov has not considered what facts his theory i

s supposed to account for and so has not considered s supposed to account for and so has not considered the adequacy of the implicit groupings which it estabthe adequacy of the implicit groupings which it establishes” (217)lishes” (217)

• Another example – ‘the sentence “The man out of tAnother example – ‘the sentence “The man out of the last house passed on his way home” can be excluhe last house passed on his way home” can be excluded from any account of the plot’ -- since it has no ded from any account of the plot’ -- since it has no consequences. (consequences. (Barthes kernels + satellites) Barthes kernels + satellites)

T. Todorov: critique (2)T. Todorov: critique (2) Seymour Chatman’s Story and DiscourseSeymour Chatman’s Story and Discourse

• p. 92 p. 92 to transfer Propp’s and Todorov’s method tto transfer Propp’s and Todorov’s method to any narrative macrostructure whatsoever is questioo any narrative macrostructure whatsoever is questionable. Most do not have the necessary overarching rnable. Most do not have the necessary overarching recurrences. The worlds of modern fiction and cinemecurrences. The worlds of modern fiction and cinema are not two-valued, black and white, as are the Rusa are not two-valued, black and white, as are the Russian tales and the Decameron. sian tales and the Decameron.

• P. 93 Whatever success Scholes achieves in his analyP. 93 Whatever success Scholes achieves in his analysis of ‘Eveline’ depends on his knowledge of the osis of ‘Eveline’ depends on his knowledge of the overriding thematic framework of the Dubliners. “Whverriding thematic framework of the Dubliners. “Why a Dubliner instead of an Irishwoman or a European y a Dubliner instead of an Irishwoman or a European or a female? Why celibate instead of poor. . .?” or a female? Why celibate instead of poor. . .?”