By Shlomith Rimmon-Kenan
A synthesis of methods to narrative fiction, contemplating Anglo-American New feedback, Russian Formalism and French Structuralism that formulates the methods readers can, may still, and do learn narrative fiction.
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Extra info for Narrative Fiction: Contemporary Poetics 2nd Edition (New Accents)
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5 And Ferrara attempts to construct a model for a structural analysis of narrative fiction with character as the central notion: In fiction the character is used as the structuring element: the objects and the events of fiction exist—in one way or another— because of the character and, in fact, it is only in relation to it that they possess those qualities of coherence and plausibility which make them meaningful and comprehensible. (1974, p. 252) Can the opposed views be reconciled? Again I would answer in the positive, for several reasons.
This indeed is the thrust of Henry James’s famous dictum: ‘What is character but the determination of incident? ’ (1963, p. 80. Orig. publ. 1884). The forms of this interdependence, however, remain to be analysed. Second, the opposed subordinations can be taken as relative to types of narrative rather than as absolute hierarchies. There are narratives in which character predominates (so-called psychological narratives) and others in which action does (apsychological narratives) (Todorov 1977, p.
Between the two poles one can distinguish infinite degrees of complexity. Allegorical figures, caricatures, and types are not only simple but also static, and can thus also occupy, together with ‘portraits’ of the Theophrastes or La Bruyère type, one pole on the axis of development. But static, undeveloping characters need not be limited to one trait; although static, Joe Gargery and Wemmick in Great Expectations clearly have more than one quality. g. representing the social milieu in which the major character acts).