Stanzel defines various types and levels of mediacy, and concludes that there are three main narrative situations: first person (when the narrator’s world is the. The Circle of Narrative. A THEORY OF NARRATIVE. By Franz Stanzel. Translated by Charlotte G with a preface by Paul Hernadi. Cambridge: Cambridge. F.K. Stanzel, A Theory of Narrative. Transi, by Charlotte in an able translation, supervised by Franz Stanzel himself, of his Theorie des Erzählens (Göt-.

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For perspective it is a matter of internal and exter- nal perspective.

A Theory of Narrative – F. K. Stanzel – Google Books

March Learn how and when to remove this template message. Narrqtive people Austrian academics Austrian literary critics births. He pretends to be giving an unmediated view, as if the reader were presented with the thing itself. Kronick’s argument for constant reinterpretations can serve to keep history alive. He provides arbitrary details, apparently the result of existential situations.

Dominance of the reflector mode. Narrative modes oc mediacy covert mediacy indirect direct personalization impersonalization telling showing summary scenic presentation report 1. Each of diese categories in turn has a small number of exponents.

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But when he argues diat all evidence and selection must be random and arbitrary, he opens “an abyss ofendiese interpretations” stanzek significance pp. A work is complex of basic narrative forms whose profile may be charted. On die odier hand, “die narrative situations are conceived as ideal types” p.


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The world of the characters is identical to the world of the narrator. February Learn how and when to remove this template message. Stay updated via RSS. Franz Karl Stanzel born 4 August is an Austrian literary theoristspecialised in English literature.

He provides a generalized summary or a complete record of events. Does the narrator belong to the world of the story, or does he remain in another realm of existence? And if a whole book is not consistendy one diing or anodier, mat tbeory not die fault of the uieory or the book. The value of any detail is determined by the mode. Many of diem seem good candidates for typical or ar- chetypical status and could be used by anyone constructing a dieory of nar- rative, since die analysis is both clear and narratie.

You can help Wikipedia by assisting in the translation. Stanzel’s typological circle featuring “three typical narrative situations”, which describes various possibilities of structuring the mediacity of narrative, is based on three elements. By continuing to use this website, you agree to their use.

In he was offered a position as professor Ordinariat in Erlangen. In fact, all narration is first-person because there is always a narrator between the reader and the story. They are person, perspective, and mode. Dominance of fictive world.

Franz Karl Stanzel

The book’s assumptions preach to die converted, and its undeveloped arguments deserve better. This article is a translation-work in progress of the article Franz Karl Stanzel from German to English.


Rhythm of a narrative: These support Stanzel’s dieory and are revealing in diemselves. The three major categories and dieir primary distinctions are arranged by Stanzel in a diagram around a circle which he calls “The Typological Circle.


This book is a dioroughly stimulatingjourney around fiction. Modal possibilities constitute a continuum. They also dtanzel a compendium for all those who are interested in die nature of narrative fiction. Mode distinguishes between what Stanzel calls reportorial narration and scenic presentation. Perspective may be internal limitedlocated in the story, in the protagonist or in the centre of the action, or it may be external omniscient outside the story or or its centre of action located in a theogy who does not belong to the world of the characters, or who is merely a subordinate figure.

To find out more, including how to control cookies, see here: The theory is responsible for predicting die possible kinds of fiction — and it is revealing and makes interesting predictions even widi sharp edges. In the “First-person narrative situation”, the events are related by a “narrating I” who takes part in the action in the fictional world as a character or as the “experiencing I”.