![Narrative Books on Library Shelf](https://upload.wikimedia.org/wikipedia/commons/9/93/Narrative_Books_on_Library_Shelf.JPG)
A narrative, story, or tale is any account of a series of related events or experiences,
whether
nonfiction
Nonfiction, or non-fiction, is any document or media content that attempts, in good faith, to provide information (and sometimes opinions) grounded only in facts and real life, rather than in imagination. Nonfiction is often associated with be ...
al (
memoir,
biography
A biography, or simply bio, is a detailed description of a person's life. It involves more than just the basic facts like education, work, relationships, and death; it portrays a person's experience of these life events. Unlike a profile or ...
,
news report
The news media or news industry are forms of mass media that focus on delivering news to the general public or a target public. These include news agencies, print media (newspapers, news magazines), broadcast news (radio and television), and th ...
,
documentary,
travelogue, etc.) or
fiction
Fiction is any creative work, chiefly any narrative work, portraying individuals, events, or places that are imaginary, or in ways that are imaginary. Fictional portrayals are thus inconsistent with history, fact, or plausibility. In a traditi ...
al (
fairy tale
A fairy tale (alternative names include fairytale, fairy story, magic tale, or wonder tale) is a short story that belongs to the folklore genre. Such stories typically feature magic (paranormal), magic, incantation, enchantments, and mythical ...
,
fable
Fable is a literary genre: a succinct fictional story, in prose or verse, that features animals, legendary creatures, plants, inanimate objects, or forces of nature that are anthropomorphized, and that illustrates or leads to a particular mo ...
,
legend
A legend is a Folklore genre, genre of folklore that consists of a narrative featuring human actions, believed or perceived, both by teller and listeners, to have taken place in human history. Narratives in this genre may demonstrate human valu ...
,
thriller
Thriller may refer to:
* Thriller (genre), a broad genre of literature, film and television
** Thriller film, a film genre under the general thriller genre
Comics
* ''Thriller'' (DC Comics), a comic book series published 1983–84 by DC Comics i ...
,
novel
A novel is a relatively long work of narrative fiction, typically written in prose and published as a book. The present English word for a long work of prose fiction derives from the for "new", "news", or "short story of something new", itsel ...
, etc.). Narratives can be presented through a sequence of written or spoken words, through still or moving images, or through any combination of these. The word derives from the Latin verb ''narrare'' (to tell), which is derived from the adjective ''gnarus'' (knowing or skilled).
Narration (i.e., the process of presenting a narrative) is a
rhetorical mode
The rhetorical modes (also known as modes of discourse) are a long-standing attempt to broadly classify the major kinds of language-based communication, particularly writing and speaking, into narration, description, exposition, and argumentation ...
of discourse, broadly defined (and paralleling
argumentation
Argumentation theory, or argumentation, is the interdisciplinary study of how conclusions can be supported or undermined by premises through logical reasoning. With historical origins in logic, dialectic, and rhetoric, argumentation theory, includ ...
,
description, and
exposition), is one of four rhetorical modes of discourse. More narrowly defined, it is the
fiction-writing mode in which a
narrator communicates directly to an audience. The school of literary criticism known as
Russian formalism has applied methods that are more often used to analyse narrative fiction, to non-fictional texts such as political speeches.
Oral storytelling
Oral storytelling is an ancient and intimate tradition between the storyteller and their audience. The storyteller and the listeners are physically close, often seated together in a circular fashion. The intimacy and connection is deepened by t ...
is the earliest method for sharing narratives. During most people's childhoods, narratives are used to guide them on proper behavior, cultural history, formation of a communal identity, and values, as especially studied in
anthropology
Anthropology is the scientific study of humanity, concerned with human behavior, human biology, cultures, societies, and linguistics, in both the present and past, including past human species. Social anthropology studies patterns of behavi ...
today among traditional
indigenous people
Indigenous peoples are culturally distinct ethnic groups whose members are directly descended from the earliest known inhabitants of a particular geographic region and, to some extent, maintain the language and culture of those original people ...
s.
Narrative is found in all forms of human creativity, art, and entertainment, including
speech
Speech is a human vocal communication using language. Each language uses Phonetics, phonetic combinations of vowel and consonant sounds that form the sound of its words (that is, all English words sound different from all French words, even if ...
,
literature
Literature is any collection of written work, but it is also used more narrowly for writings specifically considered to be an art form, especially prose fiction, drama, and poetry. In recent centuries, the definition has expanded to include ...
,
theatre
Theatre or theater is a collaborative form of performing art that uses live performers, usually actors or actresses, to present the experience of a real or imagined event before a live audience in a specific place, often a stage. The perform ...
,
music
Music is generally defined as the art of arranging sound to create some combination of form, harmony, melody, rhythm or otherwise expressive content. Exact definitions of music vary considerably around the world, though it is an aspect ...
and
song
A song is a musical composition intended to be performed by the human voice. This is often done at distinct and fixed pitches (melodies) using patterns of sound and silence. Songs contain various forms, such as those including the repetitio ...
,
comics
a medium used to express ideas with images, often combined with text or other visual information. It typically the form of a sequence of panels of images. Textual devices such as speech balloons, captions, and onomatopoeia can indicate ...
,
journalism
Journalism is the production and distribution of reports on the interaction of events, facts, ideas, and people that are the "news of the day" and that informs society to at least some degree. The word, a noun, applies to the occupation (profes ...
,
film
A film also called a movie, motion picture, moving picture, picture, photoplay or (slang) flick is a work of visual art that simulates experiences and otherwise communicates ideas, stories, perceptions, feelings, beauty, or atmosphere ...
,
television
Television, sometimes shortened to TV, is a telecommunication medium for transmitting moving images and sound. The term can refer to a television set, or the medium of television transmission. Television is a mass medium for advertisin ...
and
video
Video is an electronic medium for the recording, copying, playback, broadcasting, and display of moving visual media. Video was first developed for mechanical television systems, which were quickly replaced by cathode-ray tube (CRT) syste ...
,
video game
Video games, also known as computer games, are electronic games that involves interaction with a user interface or input device such as a joystick, controller, keyboard, or motion sensing device to generate visual feedback. This fee ...
s,
radio
Radio is the technology of signaling and communicating using radio waves. Radio waves are electromagnetic waves of frequency between 30 hertz (Hz) and 300 gigahertz (GHz). They are generated by an electronic device called a transmit ...
,
game
A game is a structured form of play (activity), play, usually undertaken for enjoyment, entertainment or fun, and sometimes used as an educational tool. Many games are also considered to be work (such as professional players of spectator s ...
-play,
unstructured recreation, and
performance
A performance is an act of staging or presenting a play, concert, or other form of entertainment. It is also defined as the action or process of carrying out or accomplishing an action, task, or function.
Management science
In the work place ...
in general, as well as some
painting
Painting is the practice of applying paint, pigment, color or other medium to a solid surface (called the "matrix" or "support"). The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, and ...
,
sculpture
Sculpture is the branch of the visual arts that operates in three dimensions. Sculpture is the three-dimensional art work which is physically presented in the dimensions of height, width and depth. It is one of the plastic arts. Durable sc ...
,
drawing
Drawing is a form of visual art in which an artist uses instruments to mark paper or other two-dimensional surface. Drawing instruments include graphite pencils, pen and ink, various kinds of paints, inked brushes, colored pencils, crayons, ...
,
photography
Photography is the art, application, and practice of creating durable images by recording light, either electronically by means of an image sensor, or chemically by means of a light-sensitive material such as photographic film. It is employed ...
, and other
visual arts
The visual arts are art forms such as painting, drawing, printmaking, sculpture, ceramics, photography, video, filmmaking, design, crafts and architecture. Many artistic disciplines such as performing arts, conceptual art, and textile arts al ...
, as long as a sequence of events is presented. Several art movements, such as
modern art
Modern art includes artistic work produced during the period extending roughly from the 1860s to the 1970s, and denotes the styles and philosophies of the art produced during that era. The term is usually associated with art in which the tradi ...
, refuse the narrative in favor of the
abstract and
conceptual
Conceptual may refer to:
Philosophy and Humanities
*Concept
*Conceptualism
*Philosophical analysis (Conceptual analysis)
*Theoretical definition (Conceptual definition)
*Thinking about Consciousness (Conceptual dualism)
*Pragmatism (Conceptual pr ...
.
Narrative can be organized into a number of thematic or formal categories: nonfiction (such as
creative nonfiction
Creative nonfiction (also known as literary nonfiction or narrative nonfiction or literary journalism or verfabula) is a genre of writing that uses literary styles and techniques to create factually accurate narratives. Creative nonfiction contra ...
,
biography
A biography, or simply bio, is a detailed description of a person's life. It involves more than just the basic facts like education, work, relationships, and death; it portrays a person's experience of these life events. Unlike a profile or ...
, journalism,
transcript poetry, and
historiography
Historiography is the study of the methods of historians in developing history as an academic discipline, and by extension is any body of historical work on a particular subject. The historiography of a specific topic covers how historians ha ...
); fictionalization of historical events (such as
anecdote,
myth
Myth is a folklore genre consisting of Narrative, narratives that play a fundamental role in a society, such as foundational tales or Origin myth, origin myths. Since "myth" is widely used to imply that a story is not Objectivity (philosophy), ...
, legend, and
historical fiction
Historical fiction is a literary genre in which the plot takes place in a setting related to the past events, but is fictional. Although the term is commonly used as a synonym for historical fiction literature, it can also be applied to other ty ...
) and fiction proper (such as literature in the form of
prose
Prose is a form of written or spoken language that follows the natural flow of speech, uses a language's ordinary grammatical structures, or follows the conventions of formal academic writing. It differs from most traditional poetry, where the f ...
and sometimes
poetry
Poetry (derived from the Greek ''poiesis'', "making"), also called verse, is a form of literature that uses aesthetic and often rhythmic qualities of language − such as phonaesthetics, sound symbolism, and metre − to evoke meanings i ...
,
short stories, novels,
narrative poems and songs, and imaginary narratives as portrayed in other textual forms, games, or live or recorded performances). Narratives may also be nested within other narratives, such as narratives told by an
unreliable narrator
An unreliable narrator is a narrator whose credibility is compromised. They can be found in fiction and film, and range from children to mature characters. The term was coined in 1961 by Wayne C. Booth in ''The Rhetoric of Fiction''. While unrel ...
(a
character
Character or Characters may refer to:
Arts, entertainment, and media Literature
* ''Character'' (novel), a 1936 Dutch novel by Ferdinand Bordewijk
* ''Characters'' (Theophrastus), a classical Greek set of character sketches attributed to The ...
) typically found in the genre of
noir fiction. An important part of many narratives is its
narrative mode, the set of methods used to communicate the narrative through a written or spoken commentary (see also "
Aesthetics approach" below).
Overview
A narrative is a telling of some true or fictitious event or connected sequence of events, sometimes recounted by a narrator to an audience (although there may be more than one of each). A
personal narrative
Personal narrative (PN) is a prose narrative relating personal experience usually told in first person; its content is nontraditional. "Personal" refers to a story from one's life or experiences. "Nontraditional" refers to literature that does not ...
is a prose narrative relating personal
experience
Experience refers to conscious events in general, more specifically to perceptions, or to the practical knowledge and familiarity that is produced by these conscious processes. Understood as a conscious event in the widest sense, experience involv ...
. Narratives are to be distinguished from descriptions of qualities, states, or situations, and also from dramatic enactments of events (although a dramatic work may also include narrative speeches). A narrative consists of a set of events (the story) recounted in a process of narration (or
discourse
Discourse is a generalization of the notion of a conversation to any form of communication. Discourse is a major topic in social theory, with work spanning fields such as sociology, anthropology, continental philosophy, and discourse analysis. ...
), in which the events are selected and arranged in a particular order (the
plot
Plot or Plotting may refer to:
Art, media and entertainment
* Plot (narrative), the story of a piece of fiction
Music
* ''The Plot'' (album), a 1976 album by jazz trumpeter Enrico Rava
* The Plot (band), a band formed in 2003
Other
* ''Plot' ...
, which can also mean "story synopsis"). The term "emplotment" describes how, when making sense of personal experience, authors or other storytellers structure and order narratives. The category of narratives includes both the shortest accounts of events (for example, ''the cat sat on the mat'', or a brief news item) and the longest historical or biographical works, diaries, travelogues, and so forth, as well as novels, ballads, epics, short stories, and other fictional forms. In the study of fiction, it is usual to divide novels and shorter stories into first-person narratives and third-person narratives. As an adjective, "narrative" means "characterized by or relating to storytelling": thus narrative technique is the method of telling stories, and narrative poetry is the class of poems (including ballads, epics, and verse romances) that tell stories, as distinct from dramatic and lyric poetry. Some theorists of
narratology have attempted to isolate the quality or set of properties that distinguishes narrative from non-narrative writings: this is called narrativity.
History
In India, archaeological evidence of the presence of stories is found at the
Indus valley civilization
The Indus Valley Civilisation (IVC), also known as the Indus Civilisation was a Bronze Age civilisation in the northwestern regions of South Asia, lasting from 3300 BCE to 1300 BCE, and in its mature form 2600 BCE to 1900&n ...
site,
Lothal. On one large vessel, the artist depicts birds with fish in their beaks resting in a tree, while a fox-like animal stands below. This scene bears resemblance to the story of ''
The Fox and the Crow'' in the
Panchatantra
The ''Panchatantra'' (IAST: Pañcatantra, ISO: Pañcatantra, sa, पञ्चतन्त्र, "Five Treatises") is an ancient Indian collection of interrelated animal fables in Sanskrit verse and prose, arranged within a frame story. . On a miniature jar, the story of the thirsty crow and deer is depicted, of how the deer could not drink from the narrow mouth of the jar, while the crow succeeded by dropping stones into the jar. The features of the animals are clear and graceful.
Human nature
Owen Flanagan
Owen Flanagan (born 1949) is the James B. Duke University Professor Emeritus of Philosophy and Professor of Neurobiology Emeritus at Duke University. Flanagan has done work in philosophy of mind, philosophy of psychology, philosophy of social s ...
of Duke University, a leading consciousness researcher, writes, "Evidence strongly suggests that humans in all cultures come to cast their own identity in some sort of narrative form. We are inveterate storytellers." Stories are an important aspect of culture. Many works of art and most works of literature tell stories; indeed, most of the
humanities
Humanities are academic disciplines that study aspects of human society and culture. In the Renaissance, the term contrasted with divinity and referred to what is now called classics, the main area of secular study in universities at the t ...
involve stories.
Stories are of ancient origin, existing in
ancient Egyptian,
ancient Greek
Ancient Greek includes the forms of the Greek language used in ancient Greece and the ancient world from around 1500 BC to 300 BC. It is often roughly divided into the following periods: Mycenaean Greek (), Dark Ages (), the Archaic peri ...
,
Chinese
Chinese can refer to:
* Something related to China
* Chinese people, people of Chinese nationality, citizenship, and/or ethnicity
**''Zhonghua minzu'', the supra-ethnic concept of the Chinese nation
** List of ethnic groups in China, people of va ...
, and
Indian
Indian or Indians may refer to:
Peoples South Asia
* Indian people, people of Indian nationality, or people who have an Indian ancestor
** Non-resident Indian, a citizen of India who has temporarily emigrated to another country
* South Asia ...
cultures and their myths. Stories are also a ubiquitous component of human communication, used as
parable
A parable is a succinct, didactic story, in prose or verse, that illustrates one or more instructive lessons or principles. It differs from a fable in that fables employ animals, plants, inanimate objects, or forces of nature as characters, w ...
s and examples to illustrate points.
Storytelling
Storytelling is the social and cultural activity of sharing stories, sometimes with improvisation, theatrics or embellishment. Every culture has its own stories or narratives, which are shared as a means of entertainment, education, cultural pre ...
was probably one of the earliest forms of entertainment. As noted by Owen Flanagan, narrative may also refer to psychological processes in self-identity, memory, and
meaning-making.
Semiotics
Semiotics (also called semiotic studies) is the systematic study of sign processes ( semiosis) and meaning making. Semiosis is any activity, conduct, or process that involves signs, where a sign is defined as anything that communicates something ...
begins with the individual building blocks of
meaning
Meaning most commonly refers to:
* Meaning (linguistics), meaning which is communicated through the use of language
* Meaning (philosophy), definition, elements, and types of meaning discussed in philosophy
* Meaning (non-linguistic), a general te ...
called
signs
Signs may refer to:
* ''Signs'' (2002 film), a 2002 film by M. Night Shyamalan
* ''Signs'' (TV series) (Polish: ''Znaki'') is a 2018 Polish-language television series
* ''Signs'' (journal), a journal of women's studies
*Signs (band), an American ...
;
semantics
Semantics (from grc, σημαντικός ''sēmantikós'', "significant") is the study of reference, meaning, or truth. The term can be used to refer to subfields of several distinct disciplines, including philosophy
Philosophy (f ...
is the way in which signs are combined into
codes to transmit messages. This is part of a general
communication
Communication (from la, communicare, meaning "to share" or "to be in relation with") is usually defined as the transmission of information. The term may also refer to the message communicated through such transmissions or the field of inquir ...
system using both verbal and non-verbal elements, and creating a discourse with different
modalities and forms.
In ''On Realism in Art'',
Roman Jakobson attests that literature exists as a separate entity. He and many other semioticians prefer the view that all texts, whether spoken or written, are the same, except that some authors
encode their texts with distinctive ''literary'' qualities that distinguish them from other forms of discourse. Nevertheless, there is a clear trend to address literary narrative forms as separable from other forms. This is first seen in
Russian Formalism through
Victor Shklovsky's analysis of the relationship between composition and style, and in the work of
Vladimir Propp
Vladimir Yakovlevich Propp (russian: Владимир Яковлевич Пропп; – 22 August 1970) was a Soviet folklorist and scholar who analysed the basic structural elements of Russian folk tales to identify their simplest irredu ...
, who analyzed the plots used in traditional folk-tales and identified 31 distinct functional components. This trend (or these trends) continued in the work of the
Prague School and of French scholars such as
Claude Lévi-Strauss
Claude Lévi-Strauss (, ; 28 November 1908 – 30 October 2009) was a French anthropologist and ethnologist whose work was key in the development of the theories of structuralism and structural anthropology. He held the chair of Social Anthro ...
and
Roland Barthes
Roland Gérard Barthes (; ; 12 November 1915 – 26 March 1980) was a French literary theorist, essayist, philosopher, critic, and semiotician. His work engaged in the analysis of a variety of sign systems, mainly derived from Western popular ...
. It leads to a structural analysis of narrative and an increasingly influential body of modern work that raises important theoretical questions:
* What is ''text?''
* What is its role (
culture
Culture () is an umbrella term which encompasses the social behavior, institutions, and norms found in human societies, as well as the knowledge, beliefs, arts, laws, customs, capabilities, and habits of the individuals in these groups.Tyl ...
)?
* How is it manifested as art, cinema, theater, or literature?
* Why is narrative divided into different
genre
Genre () is any form or type of communication in any mode (written, spoken, digital, artistic, etc.) with socially-agreed-upon conventions developed over time. In popular usage, it normally describes a category of literature, music, or other for ...
s, such as poetry,
short stories, and novels?
Literary theory
In literary theoretic approach, narrative is being narrowly defined as fiction-writing mode in which the narrator is communicating directly to the reader. Until the late 19th century,
literary criticism
Literary criticism (or literary studies) is the study, evaluation, and interpretation of literature. Modern literary criticism is often influenced by literary theory, which is the philosophical discussion of literature's goals and methods. Th ...
as an academic exercise dealt solely with poetry (including
epic poems like the ''
Iliad
The ''Iliad'' (; grc, Ἰλιάς, Iliás, ; "a poem about Ilium") is one of two major ancient Greek epic poems attributed to Homer. It is one of the oldest extant works of literature still widely read by modern audiences. As with the ''Odysse ...
'' and ''
Paradise Lost
''Paradise Lost'' is an epic poem in blank verse by the 17th-century English poet John Milton (1608–1674). The first version, published in 1667, consists of ten books with over ten thousand lines of verse (poetry), verse. A second edition fo ...
,'' and poetic drama like
Shakespeare
William Shakespeare ( 26 April 1564 – 23 April 1616) was an English playwright, poet and actor. He is widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's nation ...
). Most
poem
Poetry (derived from the Greek ''poiesis'', "making"), also called verse, is a form of literature that uses aesthetic and often rhythmic qualities of language − such as phonaesthetics, sound symbolism, and metre − to evoke meanings in ...
s did not have a narrator distinct from the author.
But novels, lending a number of voices to several characters in addition to narrator's, created a possibility of narrator's views differing significantly from the author's views. With the rise of the novel in the
18th century
The 18th century lasted from January 1, 1701 ( MDCCI) to December 31, 1800 ( MDCCC). During the 18th century, elements of Enlightenment thinking culminated in the American, French, and Haitian Revolutions. During the century, slave trad ...
, the concept of the narrator (as opposed to "author") made the question of narrator a prominent one for literary theory. It has been proposed that perspective and interpretive knowledge are the essential characteristics, while focalization and structure are lateral characteristics of the narrator.
The role of literary theory in narrative has been disputed; with some interpretations like
Todorov's narrative model that views all narratives in a cyclical manner, and that each narrative is characterized by a three part structure that allows the narrative to progress. The beginning stage being an establishment of equilibrium—a state of non conflict, followed by a disruption to this state, caused by an external event, and lastly a restoration or a return to equilibrium—a conclusion that brings the narrative back to a similar space before the events of the narrative unfolded.
Other critiques of literary theory in narrative challenge the very role of literariness in narrative, as well as the role of narrative in literature. Meaning, narratives, and their associated aesthetics, emotions, and values have the ability to operate without the presence of literature, and vice versa. According to Didier Costa, the structural model used by Todorov and others is unfairly biased toward a Western interpretation of narrative, and that a more comprehensive and transformative model must be created in order to properly analyze narrative discourse in literature. Framing also plays a pivotal role in narrative structure; an analysis of the historical and cultural contexts present during the development of a narrative is needed in order to more accurately represent the role of narratology in societies that relied heavily on oral narratives.
Types of narrators and their modes
A writer's choice in the narrator is crucial for the way a work of fiction is perceived by the reader. There is a distinction between
first-person and
third-person narrative, which
Gérard Genette
Gérard Genette (7 June 1930 – 11 May 2018) was a French literary theorist, associated in particular with the structuralist movement and such figures as Roland Barthes and Claude Lévi-Strauss, from whom he adapted the concept of ''bricolage ...
refers to as intradiegetic and extradiegetic narrative, respectively. Intradiegetic narrators are of two types: a homodiegetic narrator participates as a character in the story. Such a narrator cannot know more about other characters than what their actions reveal. A heterodiegetic narrator, in contrast, describes the experiences of the characters that appear in the story in which he or she does not participate.
Most narrators present their story from one of the following perspectives (called narrative modes): first-person, or third-person limited or omniscient. Generally, a
first-person narrator
A first-person narrative is a mode of storytelling in which a storyteller recounts events from their own point of view using the first person It may be narrated by a first-person protagonist (or other focal character), first-person re-teller ...
brings greater focus on the feelings, opinions, and perceptions of a particular character in a story, and on how the character views the world and the views of other characters. If the writer's intention is to get inside the world of a character, then it is a good choice, although a
third-person limited narrator is an alternative that does not require the writer to reveal all that a first-person character would know. By contrast, a
third-person omniscient narrator gives a panoramic view of the world of the story, looking into many characters and into the broader background of a story. A third-person omniscient narrator can be an animal or an object, or it can be a more abstract instance that does not refer to itself. For stories in which the context and the views of many characters are important, a third-person narrator is a better choice. However, a third-person narrator does not need to be an omnipresent guide, but instead may merely be the protagonist referring to himself in the third person (also known as third person limited narrator).
Multiple narrators
A writer may choose to let several narrators tell the story from different points of view. Then it is up to the reader to decide which narrator seems most reliable for each part of the story. It may refer to the style of the writer in which he/she expresses the paragraph written. See for instance the works of
Louise Erdrich
Louise Erdrich ( ; born Karen Louise Erdrich, June 7, 1954) is an American author of novels, poetry, and children's books featuring Native American characters and settings. She is an enrolled member of the Turtle Mountain Band of Chippewa Indian ...
.
William Faulkner
William Cuthbert Faulkner (; September 25, 1897 – July 6, 1962) was an American writer known for his novels and short stories set in the fictional Yoknapatawpha County, based on Lafayette County, Mississippi, where Faulkner spent most of ...
's ''
As I Lay Dying'' is a prime example of the use of multiple narrators. Faulkner employs
stream of consciousness to narrate the story from various perspectives.
In Indigenous American communities, narratives and storytelling are often told by a number of elders in the community. In this way, the stories are never static because they are shaped by the relationship between narrator and audience. Thus, each individual story may have countless variations. Narrators often incorporate minor changes in the story in order to tailor the story to different audiences.
The use of multiple narratives in a story is not simply a stylistic choice, but rather an interpretive one that offers insight into the development of a larger social identity and the impact that has on the overarching narrative, as explained by Lee Haring.
Haring analyzes the use of framing in oral narratives, and how the usage of multiple perspectives provides the audience with a greater historical and cultural background of the narrative. She also argues that narratives (particularly myths and
folktales) that implement multiple narrators deserves to be categorized as its own narrative genre, rather than simply a narrative device that is used solely to explain phenomena from different points of view.
Haring provides an example from the Arabic folktales of ''
One Thousand and One Nights
''One Thousand and One Nights'' ( ar, أَلْفُ لَيْلَةٍ وَلَيْلَةٌ, italic=yes, ) is a collection of Middle Eastern folk tales compiled in Arabic during the Islamic Golden Age. It is often known in English as the ''Arabian ...
'' to illustrate how framing was used to loosely connect each story to the next, where each story was enclosed within the larger narrative. Additionally, Haring draws comparisons between ''Thousand and One Nights'' and the oral storytelling observed in parts of rural
Ireland
Ireland ( ; ga, Éire ; Ulster Scots dialect, Ulster-Scots: ) is an island in the Atlantic Ocean, North Atlantic Ocean, in Northwestern Europe, north-western Europe. It is separated from Great Britain to its east by the North Channel (Grea ...
, islands of the Southwest Indian Ocean, and African cultures such as
Madagascar
Madagascar (; mg, Madagasikara, ), officially the Republic of Madagascar ( mg, Repoblikan'i Madagasikara, links=no, ; french: République de Madagascar), is an island country in the Indian Ocean, approximately off the coast of East Africa ...
.
"I'll tell you what I'll do," said the smith. "I'll fix your sword for you tomorrow, if you tell me a story while I'm doing it." The speaker was an Irish storyteller in 1935, framing one story in another (O'Sullivan 75, 264). The moment recalls the Thousand and One Nights, where the story of "The Envier and the Envied" is enclosed in the larger story told by the Second Kalandar (Burton 1: 113-39), and many stories are enclosed in others."
Aesthetics approach
Narrative is a highly aesthetic art. Thoughtfully composed stories have a number of aesthetic elements. Such elements include the idea of
narrative structure, with identifiable beginnings, middles, and ends, or the process of exposition-development-climax-denouement, with coherent plot lines; a strong focus on temporality including retention of the past, attention to present action, and future anticipation; a substantial focus on character and characterization, "arguably the most important single component of the novel" (
David Lodge ''The Art of Fiction'' 67); different voices interacting, "the sound of the human voice, or many voices, speaking in a variety of accents, rhythms, and registers" (Lodge ''The Art of Fiction'' 97; see also the theory of
Mikhail Bakhtin for expansion of this idea); a narrator or narrator-like voice, which "addresses" and "interacts with" reading audiences (see
Reader Response
Reader-response criticism is a school of literary theory that focuses on the reader (or "audience") and their experience of a literary work, in contrast to other schools and theories that focus attention primarily on the author or the content and f ...
theory); communicates with a
Wayne Booth-esque rhetorical thrust, a dialectic process of interpretation, which is at times beneath the surface, forming a plotted narrative, and at other times much more visible, "arguing" for and against various positions; relies substantially on the use of literary tropes (see
Hayden White
Hayden V. White (July 12, 1928 – March 5, 2018) was an American historian in the tradition of literary criticism, perhaps most famous for his work '' Metahistory: The Historical Imagination in Nineteenth-Century Europe'' (1973/2014).
Career
W ...
, ''Metahistory'' for expansion of this idea); is often intertextual with other literatures; and commonly demonstrates an effort toward ''
Bildungsroman
In literary criticism, a ''Bildungsroman'' (, plural ''Bildungsromane'', ) is a literary genre that focuses on the psychological and moral growth of the protagonist from childhood to adulthood ( coming of age), in which character change is impo ...
'', a description of identity development with an effort to evince ''becoming'' in character and community.
Psychological approach
Within
philosophy of mind
Philosophy of mind is a branch of philosophy that studies the ontology and nature of the mind and its relationship with the body. The mind–body problem is a paradigmatic issue in philosophy of mind, although a number of other issues are addre ...
, the
social science
Social science is one of the branches of science, devoted to the study of societies and the relationships among individuals within those societies. The term was formerly used to refer to the field of sociology, the original "science of soc ...
s, and various clinical fields including medicine, narrative can refer to aspects of human psychology. A personal narrative process is involved in a person's sense of
personal
Personal may refer to:
Aspects of persons' respective individualities
* Privacy
* Personality
* Personal, personal advertisement, variety of classified advertisement used to find romance or friendship
Companies
* Personal, Inc., a Washington, ...
or
cultural identity
Cultural identity is a part of a person's identity, or their self-conception and self-perception, and is related to nationality, ethnicity, religion, social class, generation, locality or any kind of social group that has its own distinct cultur ...
, and in the creation and construction of
memories; it is thought by some to be the fundamental nature of the
self
The self is an individual as the object of that individual’s own reflective consciousness. Since the ''self'' is a reference by a subject to the same subject, this reference is necessarily subjective. The sense of having a self—or ''selfhood ...
. The breakdown of a coherent or positive narrative has been implicated in the development of
psychosis
Psychosis is a condition of the mind that results in difficulties determining what is real and what is not real. Symptoms may include delusions and hallucinations, among other features. Additional symptoms are incoherent speech and behavior ...
and
mental disorder
A mental disorder, also referred to as a mental illness or psychiatric disorder, is a behavioral or mental pattern that causes significant distress or impairment of personal functioning. Such features may be persistent, relapsing and remitti ...
s, and its repair said to play an important role in journeys of
recovery
Recovery or Recover may refer to:
Arts and entertainment Books
* Recovery (novel), ''Recovery'' (novel), a Star Wars e-book
* Recovery Version, a translation of the Bible with footnotes published by Living Stream Ministry
Film and television
* R ...
.
Narrative therapy
Narrative therapy (or Narrative Practice) is a form of psychotherapy that seeks to help patients identify their values and the skills associated with them. It provides the patient with knowledge of their ability to live these values so they can ...
is a form of
psychotherapy
Psychotherapy (also psychological therapy, talk therapy, or talking therapy) is the use of psychological methods, particularly when based on regular personal interaction, to help a person change behavior, increase happiness, and overcome pro ...
.
Illness narratives are a way for a person affected by an illness to make sense of his or her experiences.
They typically follow one of several set patterns: ''restitution'', ''chaos'', or ''quest'' narratives. In the wikt:restitution, restitution narrative, the person sees the illness as a temporary detour. The primary goal is to return permanently to normal life and normal health. These may also be called cure narratives. In the chaos narrative, the person sees the illness as a permanent state that will inexorably get worse, with no redeeming virtues. This is typical of diseases like Alzheimer's disease: the patient gets worse and worse, and there is no hope of returning to normal life. The third major type, the ''quest narrative'', positions the illness experience as an opportunity to transform oneself into a better person through overcoming adversity and re-learning what is most important in life; the physical outcome of the illness is less important than the spiritual and psychological transformation. This is typical of the triumphant view of cancer survivorship in the breast cancer culture.
[ Survivors may be expected to articulate a ''wisdom narrative'', in which they explain to others a new and better view of the meaning of life.
Personality traits, more specifically the Big Five personality traits, appear to be associated with the type of language or patterns of word use found in an individual's self-narrative. In other words, language use in self-narratives accurately reflects human personality. The linguistic correlates of each Big Five trait are as follows:
* Extraversion - positively correlated with words referring to humans, social processes, and family;
* Agreeableness - positively correlated with family, inclusiveness, and certainty; negatively correlated with anger and body (that is, few negative comments about health or body);
* Conscientiousness - positively correlated with achievement and work; negatively related to body, death, anger, and exclusiveness;
* Neuroticism - positively correlated with sadness, negative emotion, body, anger, home, and anxiety; negatively correlated with work;
* Openness to experience, Openness - positively correlated with perceptual processes, hearing, and exclusiveness
]
Social-sciences approaches
Human beings often claim to understand events when they manage to formulate a coherent story or narrative explaining how they believe the event was generated. Narratives thus lie at the foundations of our cognitive procedures and also provide an explanatory framework for the social sciences, particularly when it is difficult to assemble enough cases to permit statistical analysis. Narrative is often used in case study research in the social sciences. Here it has been found that the dense, contextual, and interpenetrating nature of social forces uncovered by detailed narratives is often more interesting and useful for both social theory and social policy than other forms of social inquiry. Research using narrative methods in the social sciences has been described as still being in its infancy but this perspective has several advantages such as access to an existing, rich vocabulary of analytical terms: plot, genre, subtext, epic, hero/heroine, story arc (e.g., beginning–middle–end), and so on. Another benefit is it emphasizes that even apparently non-fictional documents (speeches, policies, legislation) are still fictions, in the sense they are authored and usually have an intended audience in mind.
Sociologists Jaber F. Gubrium and James A. Holstein have contributed to the formation of a constructionist approach to narrative in sociology. From their book The Self We Live By: Narrative Identity in a Postmodern World (2000), to more recent texts such as Analyzing Narrative Reality (2009) and Varieties of Narrative Analysis (2012), they have developed an analytic framework for researching stories and storytelling that is centered on the interplay of institutional discourses (big stories) on the one hand, and everyday accounts (little stories) on the other. The goal is the sociological understanding of formal and lived texts of experience, featuring the production, practices, and communication of accounts.
Inquiry approach
In order to avoid "hardened stories", or "narratives that become context-free, portable, and ready to be used anywhere and anytime for illustrative purposes" and are being used as conceptual metaphors as defined by linguist George Lakoff, an approach called narrative inquiry was proposed, resting on the epistemological assumption that human beings make sense of random or complex multicausal experience by the imposition of story structures.[Conle, C. (2000). Narrative inquiry: Research tool and medium for professional development. European Journal of Teacher Education, 23(1), 49–62.][Bell, J.S. (2002). Narrative Inquiry: More Than Just Telling Stories. TESOL Quarterly, 36(2), 207–213.] Human propensity to simplify data through a predilection for narratives over complex data sets can lead to the narrative fallacy. It is easier for the human mind to remember and make decisions on the basis of stories with meaning, than to remember strings of data. This is one reason why narratives are so powerful and why many of the classics in the humanities and social sciences are written in the narrative format. But humans can read meaning into data and compose stories, even where this is unwarranted. Some scholars suggest that the narrative fallacy and other biases can be avoided by applying standard methodical checks for validity (statistics) and reliability (statistics) in terms of how data (narratives) are collected, analyzed, and presented. More typically, scholars working with narrative prefer to use other evaluative criteria (such as believability or perhaps interpretive validity) since they do not see statistical validity as meaningfully applicable to qualitative data: "the concepts of validity and reliability, as understood from the positivist perspective, are somehow inappropriate and inadequate when applied to interpretive research". Several criteria for assessing the validity of narrative research was proposed, including the objective aspect, the emotional aspect, the social/moral aspect, and the clarity of the story.
Mathematical-sociology approach
In mathematical sociology, the theory of comparative narratives was devised in order to describe and compare the structures (expressed as "and" in a directed graph where multiple causal links incident into a node are conjoined) of action-driven sequential events.[Abell. P. (1987) The Syntax of Social Life: the theory and Method of Comparative Narratives, Oxford University Press, Oxford.][Abell, P. (1993) Some Aspects of Narrative Method, Journal of Mathematical Sociology, 18. 1-25.][Abell, P. (2009) A Case for Cases, Comparative Narratives in Sociological Explanation, Sociological Methods and Research, 32, 1-33.]
Narratives so conceived comprise the following ingredients:
* A finite set of state descriptions of the world S, the components of which are weakly ordered in time;
* A finite set of actors/agents (individual or collective), P;
* A finite set of actions A;
* A mapping of P onto A;
The structure (directed graph) is generated by letting the nodes stand for the states and the directed edges represent how the states are changed by specified actions. The action skeleton can then be abstracted, comprising a further digraph where the actions are depicted as nodes and edges take the form "action a co-determined (in context of other actions) action b".
Narratives can be both abstracted and generalised by imposing an abstract algebra, algebra upon their structures and thence defining homomorphism between the algebras. The insertion of action-driven causal links in a narrative can be achieved using the method of Bayesian narratives.
Bayesian narratives
Developed by Peter Abell, the theory of Bayesian Narratives conceives a narrative as a directed graph comprising multiple causal links (social interactions) of the general form: "action ''a'' causes action ''b'' in a specified context". In the absence of sufficient comparative cases to enable statistical treatment of the causal links, items of evidence in support and against a particular causal link are assembled and used to compute the Bayesian likelihood ratio of the link. Subjective causal statements of the form "I did b because of a" and subjective counterfactual conditional, counterfactuals "if it had not been for a I would not have done b" are notable items of evidence.[Abell, P. (2011) Singular Mechanisms and Bayesian Narratives in ed. Pierre Demeulenaere, ''Analytical Sociology and Social Mechanisms'' Cambridge University Press, Cambridge.][Abell, P. (2009) History, Case Studies, Statistics, and Causal Inference, ''European Sociological review'', 25, 561–569]
In music
Linearity is one of several narrative qualities that can be found in a musical composition. As noted by American musicologist Edward Cone, narrative terms are also present in the analytical language about music.[Beard and Gloag, ''Musicology'', 113–117] The different components of a fugue — subject, answer, exposition, discussion, and summary — can be cited as an example.[Beard and Gloag, ''Musicology'', 115] However, there are several views on the concept of narrative in music and the role it plays.
One theory is that of Theodore Adorno, who has suggested that "music recites itself, is its own context, narrates without narrative". Another, is that of Carolyn Abbate, who has suggested that "certain gestures experienced in music constitute a narrating voice". Still others have argued that narrative is a semiotic enterprise that can enrich musical analysis.
The French musicologist Jean-Jacques Nattiez contends that "the narrative, strictly speaking, is not in the music, but in the plot imagined and constructed by the listeners".[Beard and Gloag, ''Musicology'', 116] He argues that discussing music in terms of narrativity is simply metaphorical and that the "imagined plot" may be influenced by the work's title or other programmatic information provided by the composer. However, Abbate has revealed numerous examples of musical devices that function as narrative voices, by limiting music's ability to narrate to rare "moments that can be identified by their bizarre and disruptive effect". Various theorists share this view of narrative appearing in disruptive rather than normative moments in music.
The final word is yet to be said regarding narratives in music, as there is still much to be determined.
In film
Unlike most forms of narratives that are inherently language based (whether that be narratives presented in literature or orally), film narratives face additional challenges in creating a cohesive narrative. Whereas the general assumption in literary theory is that a narrator must be present in order to develop a narrative, as Schmid proposes; the act of an author writing his or her words in text is what communicates to the audience (in this case readers) the narrative of the text, and the author represents an act of narrative communication between the textual narrator and the narratee. This is in line with Fludernik's perspective on what's called cognitive narratology—which states that a literary text has the ability to manifest itself into an imagined, representational illusion that the reader will create for themselves, and can vary greatly from reader to reader. In other words, the scenarios of a literary text (referring to settings, frames, schemes, etc.) are going to be represented differently for each individual reader based on a multiplicity of factors, including the reader's own personal life experiences that allow them to comprehend the literary text in a distinct manner from anyone else.
Film narrative does not have the luxury of having a textual narrator that guides its audience toward a formative narrative; nor does it have the ability to allow its audience to visually manifest the contents of its narrative in a unique fashion like literature does. Instead, film narratives utilize visual and auditory devices in substitution for a narrative subject; these devices include cinematography, film editing, editing, sound design (both diegetic music, diegetic and non-diegetic sound), as well as the arrangement and decisions on how and where the subjects are located onscreen—known as ''mise-en-scène''. These cinematic devices, among others, contribute to the unique blend of visual and auditory storytelling that culminates to what Jose Landa refers to as a "visual narrative instance". And unlike narratives found in other performance arts such as plays and musicals, film narratives are not bound to a specific place and time, and are not limited by scene transitions in plays, which are restricted by set design and allotted time.
In mythology
The nature or existence of a formative narrative in many of the world's myths, folktales, and legends has been a topic of debate for many modern scholars; but the most common consensus among academics is that throughout most cultures, traditional mythologies and folklore tales are constructed and retold with a specific narrative purpose that serves to offer a society an understandable explanation of natural phenomena—oftentimes absent of a verifiable author. These explanatory tales manifest themselves in various forms and serve different societal functions, including life lessons for individuals to learn from (for example, the Ancient Greek tale of Icarus refusing to listen to his elders and flying too close to the sun), explaining forces of nature or other natural phenomena (for example, the flood myth that spans cultures all over the world), and providing an understanding of human nature, as exemplified by the myth of Cupid and Psyche.
Considering how mythologies have historically been transmitted and passed down through oral retellings, there is no qualitative or reliable method to precisely trace exactly where and when a tale originated; and since myths are rooted in a remote past, and are viewed as a factual account of happenings within the culture it originated from, the worldview present in many oral mythologies is from a cosmology, cosmological perspective—one that is told from a voice (grammar), voice that has no physical embodiment, and is passed down and modified from generation to generation. This cosmological worldview in myth is what provides all mythological narratives credence, and since they are easily communicated and modified through oral tradition among various cultures, they help solidify the cultural identity
Cultural identity is a part of a person's identity, or their self-conception and self-perception, and is related to nationality, ethnicity, religion, social class, generation, locality or any kind of social group that has its own distinct cultur ...
of a civilization and contribute to the notion of a collective consciousness, collective human consciousness that continues to help shape one's own understanding of the world.
Myth is often used in an overarching sense to describe a multitude of folklore, folklore genres, but there is a significance in distinguishing the various forms of folklore in order to properly determine what narratives constitute as mythological, as anthropologist James George Frazer, Sir James Frazer suggests. Frazer contends that there are three primary categories of mythology (now more broadly considered categories of folklore): Myths, legends, and folktales, and that by definition, each genre pulls its narrative from a different ontological source, and therefore has different implications within a civilization. Frazer states:
"If these definitions be accepted, we may say that myth has its source in reason, legend in memory, and folk-tale in imagination; and that the three riper products of the human mind which correspond to these its crude creations are science, history, and romance."
Janet Bacon expanded upon Frazer's categorization in her 1921 publication—''The Voyage of The Argonauts''.
# Myth – According to Janet Bacon's 1921 publication, "Myth has an explanatory intention. It explains some natural phenomenon whose causes are not obvious, or some ritual practice whose origin has been forgotten." Bacon views myths as narratives that serve a practical societal function of providing a satisfactory explanation for many of humanity's greatest questions. Those questions address topics such as astronomical events, historical circumstances, environmental phenomena, and a range of human experiences including love, anger, greed, and isolation.
# Legend – According to Bacon, "Legend, on the other hand, is true tradition founded on the fortunes of real people or on adventures at real places. Agamemnon, Lycurgus, Coriolanus, King Arthur, Saladin, are real people whose fame and the legends which spread it have become world-wide." Legends are mythical figures whose accomplishments and accolades live beyond their own mortality and transcend to the realm of myth by way of verbal communication through the ages. Like myth, they are rooted in the past, but unlike the sacred ephemeral space in which myths occur, legends are often individuals of human flesh that lived here on earth long ago, and are believed as fact. In folklore of the United States, American folklore, the tale of Davy Crockett or debatably Paul Bunyan can be considered legends—they were real people who lived in the world, but through the years of regional folktales have assumed a mythological quality.
# Folktale – Bacon classifies folktale as such, "Folk-tale, however, calls for no belief, being wholly the product of the imagination. In far distant ages some inventive story-teller was pleased to pass an idle hour with stories told of many-a-feat." Bacon's definition assumes that folktales do not possess the same underlying factualness that myths and legends tend to have. While folktales still hold a considerable cultural value, they are simply not regarded as true within a civilization. Bacon says, like myths, folktales are imagined and created by someone at some point, but differ in that folktales' primary purpose is to entertain; and that like legends, folktales may possess some element of truth in their original conception, but lack any form of credibility found in legends.
Structure
In the absence of a known author or original narrator, myth narratives are oftentimes referred to as prose narratives. Prose narratives tend to be relatively linear regarding the time period they occur in, and are traditionally marked by its natural flow of speech as opposed to the rhythm, rhythmic structure found in various forms of literature such as poetry and haikus. The structure of prose narratives allows it to be easily understood by many—as the narrative generally starts at the beginning of the story, and ends when the protagonist has resolved the conflict. These kinds of narratives are generally accepted as true within society, and are told from a place of great reverence and sacredness. Myths are believed to occur in a remote past—one that is before the creation or establishment of the civilization they derive from, and are intended to provide an account for things such as humanity's origins, natural phenomenon, and human nature. Thematically, myths seek to provide information about oneself, and many are viewed as among some of the oldest forms of prose narratives, which grants traditional myths their life-defining characteristics that continue to be communicated today.
Another theory regarding the purpose and function of mythological narratives derives from 20th Century philology, philologist Georges Dumézil and his formative theory of the "trifunctional hypothesis, trifunctionalism" found in Indo-European people, Indo-European mythologies. Dumèzil refers only to the myths found in Indo-European societies, but the primary assertion made by his theory is that Indo-European life was structured around the notion of three distinct and necessary societal functions, and as a result, the various gods and goddesses in Indo-European mythology assumed these functions as well. The three functions were organized by cultural significance, with the first function being the most grand and sacred. For Dumèzil, these functions were so vital, they manifested themselves in every aspect of life and were at the center of everyday life.
These "functions", as Dumèzil puts it, were an array of Western esotericism, esoteric knowledge and wisdom that was reflected by the mythology. The first function was sovereignty—and was divided into two additional categories: magical and juridical. As each function in Dumèzil's theory corresponded to a designated social class in the human realm; the first function was the highest, and was reserved for the status of kings and other royalty. In an interview with Alain Benoist, Dumèzil described magical sovereignty as such,"[Magical Sovereignty] consists of the mysterious administration, the 'magic' of the universe, the general ordering of the cosmos. This is a 'disquieting' aspect, terrifying from certain perspectives. The other aspect is more reassuring, more oriented to the human world. It is the 'juridical' part of the sovereign function."
This implies that gods of the first function are responsible for the overall structure and order of the universe, and those gods who possess juridical sovereignty are more closely connected to the realm of humans and are responsible for the concept of justice and order. Dumèzil uses the pantheon of Norse Norse mythology, gods as examples of these functions in his 1981 essay—he finds that the Norse gods Odin and Týr, Tyr reflect the different brands of sovereignty. Odin is the author of the cosmos, and possessor of infinite esoteric knowledge—going so far as to sacrifice his eye for the accumulation of more knowledge. While Tyr—seen as the "just god"—is more concerned with upholding justice, as illustrated by the epic myth of Tyr losing his hand in exchange for the monster Fenrir to cease his terrorization of the gods. Dumèzil's theory suggests that through these myths, concepts of universal wisdom and justice were able to be communicated to the Nordic people in the form of a mythological narrative.
The second function as described by Dumèzil is that of the proverbial hero or champion. These myths functioned to convey the themes of heroism, strength, and bravery and were most often represented in both the human world and the mythological world by valiant warriors. While the gods of the second function were still revered in society, they did not possess the same infinite knowledge found in the first category. A Norse god that would fall under the second function would be Thor—god of thunder. Thor possessed great strength, and was often first into battle, as ordered by his father Odin. This second function reflects Indo-European cultures' high regard for the warrior class, and explains the belief in an afterlife that rewards a valiant death on the battlefield; for the Norse mythology, this is represented by Valhalla.
Lastly, Dumèzil's third function is composed of gods that reflect the nature and values of the most common people in Indo-European life. These gods often presided over the realms of healing, prosperity, fertility, wealth, luxury, and youth—any kind of function that was easily related to by the common peasant farmer in a society. Just as a farmer would live and sustain themselves off their land, the gods of the third function were responsible for the prosperity of their crops, and were also in charge of other forms of everyday life that would never be observed by the status of kings and warriors, such as mischievousness and promiscuity. An example found in Norse mythology could be seen through the god Freyr—a god who was closely connected to acts of debauchery and overindulging.
Dumèzil viewed his theory of trifunctionalism as distinct from other mythological theories because of the way the narratives of Indo-European mythology permeated into every aspect of life within these societies, to the point that the societal view of death shifted away from a primal perception that tells one to fear death, and instead death became seen as the penultimate act of heroism—by solidifying a person's position in the hall of the gods when they pass from this realm to the next. Additionally, Dumèzil proposed that his theory stood at the foundation of the modern understanding of the Christian Trinity, citing that the three key deities of Odin, Thor, and Freyr were often depicted together in a trio—seen by many as an overarching representation of what would be known today as "divinity".
In cultural storytelling
A narrative can take on the shape of a story, which gives listeners an entertaining and collaborative avenue for acquiring knowledge. Many cultures use storytelling as a way to record histories, myths, and values. These stories can be seen as living entities of narrative among cultural communities, as they carry the shared experience and history of the culture within them. Stories are often used within indigenous peoples of the Americas, indigenous cultures in order to share knowledge to the younger generation. Due to indigenous narratives leaving room for open-ended interpretation, native stories often engage children in the storytelling process so that they can make their own meaning and explanations within the story. This promotes holistic thinking among native children, which works toward merging an individual and world identity. Such an identity upholds native epistemology and gives children a sense of belonging as their cultural identity develops through the sharing and passing on of stories.
For example, a number of indigenous stories are used to illustrate a value or lesson. In the Western Apache tribe, stories can be used to warn of the misfortune that befalls people when they do not follow acceptable behavior. One story speaks to the offense of a mother's meddling in her married son's life. In the story, the Western Apache tribe is under attack from a neighboring tribe, the Pimas. The Apache mother hears a scream. Thinking it is her son's wife screaming, she tries to intervene by yelling at him. This alerts the Pima tribe to her location, and she is promptly killed due to intervening in her son's life.
Indigenous American cultures use storytelling#Storytelling in indigenous cultures, storytelling to teach children the values and lessons of life. Although storytelling provides entertainment, its primary purpose is to educate.[Hodge, F., Pasqua, A., Marquez, C., & Geishirt-Cantrell, B. (2002). Utilizing Traditional Storytelling to Promote Wellness in American Indian Communities. Journal of Transcultural Nursing, 6-11.] Alaskan Indigenous Natives state that narratives teach children where they fit in, what their society expects of them, how to create a peaceful living environment, and to be responsible, worthy members of their communities. In the Mexican culture, many adult figures tell their children stories in order to teach children values such as individuality, obedience, honesty, trust, and compassion.[MacDonald, M., McDowell, J., Dégh, L., & Toelken, B. (1999). Traditional storytelling today: An international sourcebook. Chicago: Fitzroy Dearborn] For example, one of the versions of La Llorona is used to teach children to make safe decisions at night and to maintain the morals of the community.
Narratives are considered by the Canadian Métis community, to help children understand that the world around them is interconnected to their lives and communities.[Iseke, Judy. (1998). Learning Life Lessons from Indigenous Storytelling with Tom McCallum. Social Sciences and Humanities Research Council.] For example, the Métis community share the "Humorous Horse Story" to children, which portrays that horses stumble throughout life just like humans do. Navajo stories also use dead animals as metaphors by showing that all things have purpose. Lastly, elders from Alaska Natives, Alaskan Native communities claim that the use of animals as metaphors allow children to form their own perspectives while at the same time self-reflecting on their own lives.
Native Americans in the United States, American Indian elders also state that storytelling invites the listeners, especially children, to draw their own conclusions and perspectives while self-reflecting upon their lives. Furthermore, they insist that narratives help children grasp and obtain a wide range of perspectives that help them interpret their lives in the context of the story. American Indian community members emphasize to children that the method of obtaining knowledge can be found in stories passed down through each generation. Moreover, community members also let the children interpret and build a different perspective of each story.
In the military field
An emerging field of information warfare is the "battle of the narratives". The battle of the narratives is a full-blown battle in the cognitive dimension of the information environment, just as traditional warfare is fought in the physical domains (air, land, sea, space, and cyberspace). One of the foundational struggles in warfare in the physical domains is to shape the environment such that the contest of arms will be fought on terms that are to one's advantage. Likewise, a key component of the battle of the narratives is to succeed in establishing the reasons for and potential outcomes of the conflict, on terms favorable to one's efforts.
Historiography
In historiography
Historiography is the study of the methods of historians in developing history as an academic discipline, and by extension is any body of historical work on a particular subject. The historiography of a specific topic covers how historians ha ...
, according to Lawrence Stone, narrative has traditionally been the main rhetorical device used by historians. In 1979, at a time when the new social history was demanding a social-science model of analysis, Stone detected a move back toward the narrative. Stone defined narrative as organized chronologically; focused on a single coherent story; descriptive rather than analytical; concerned with people not abstract circumstances; and dealing with the particular and specific rather than the collective and statistical. He reported that, "More and more of the 'new historians' are now trying to discover what was going on inside people's heads in the past, and what it was like to live in the past, questions which inevitably lead back to the use of narrative."
Some philosophers identify narratives with a type of explanation. Mark Bevir argues, for example, that narratives explain actions by appealing to the beliefs and desires of actors and by locating webs of beliefs in the context of historical traditions. Narrative is an alternative form of explanation to that associated with natural science.
Historians committed to a social science approach, however, have criticized the narrowness of narrative and its preference for anecdote over analysis, and clever examples rather than statistical regularities.
Storytelling rights
Storytelling rights may be broadly defined as the ethics of sharing narratives (including—but not limited to—firsthand, secondhand, and imagined stories). In ''Storytelling Rights: The uses of oral and written texts by urban adolescents'', author Amy Shuman offers the following definition of storytelling rights: "the important and precarious relationship between narrative and event and, specifically, between the participants in an event and the reporters who claim the right to talk about what happened."
The ethics of retelling other people's stories may be explored through a number of questions: whose story arc, story is being told and how, what is the story's purpose or aim, what does the story promise (for instance: empathy, redemption, authenticity, clarification)—and at whose benefit? Storytelling rights also implicates questions of consent, empathy, and accurate representation. While storytelling—and retelling—can function as a powerful tool for agency (philosophy), agency and advocacy, it can also lead to misunderstanding and exploitation.
Storytelling rights is notably important in the genre of personal experience narrative. Academic disciplines such as performance, folklore, literature, anthropology
Anthropology is the scientific study of humanity, concerned with human behavior, human biology, cultures, societies, and linguistics, in both the present and past, including past human species. Social anthropology studies patterns of behavi ...
, cultural studies, and other social science
Social science is one of the branches of science, devoted to the study of societies and the relationships among individuals within those societies. The term was formerly used to refer to the field of sociology, the original "science of soc ...
s may involve the study of storytelling rights, often hinging on ethics.
Other specific applications
* Narrative environment is a contested term that has been used for techniques of architectural or exhibition design in which 'stories are told in space' and also for the virtuality, virtual environments in which computer games are played and which are invented by the computer game authors.
* Narrative film usually uses images and sounds on film (or, more recently, on analogue or digital video media) to convey a story. Narrative film is usually thought of in terms of fiction but it may also assemble stories from filmed reality, as in some documentary film, but narrative film may also use animation.
* Narrative history is a genre of factual historical writing that uses chronology as its framework (as opposed to a thematic treatment of a historical subject).
* Narrative photography is photography used to tell stories or in conjunction with stories.
* Narrative poetry is poetry that tells a story.
* Metanarrative, sometimes also known as master- or grand narrative, is a higher-level cultural narrative model (abstract), schema which orders and explains knowledge and experience you've had in life. Similar to metanarrative are masterplots or "recurrent skeletal stories, belonging to cultures and individuals that play a powerful role in questions of identity, values, and the understanding of life."[H. Porter Abbott, ''The Cambridge Introduction to Narrative'', 2nd ed, Cambridge Introductions to Literature (Cambridge: Cambridge University Press, 2008), 236.]
See also
* ''Monogatari''
* Narrative designer
* Narrative thread
* Narreme as the basic unit of narrative structure
* Organizational storytelling
Notes
References
*
*
*
*
*
*
*
Further reading
* Abbott, H. Porter (2009) ''The Cambridge Introduction to Narrative Second Edition''. Cambridge: Cambridge University Press.
* Bal, Mieke. (1985). ''Narratology. Introduction to the Theory of Narrative.'' Toronto: Toronto University Press.
* Clandinin, D. J. & Connelly, F. M. (2000). ''Narrative inquiry: Experience and story in qualitative research''. Jossey-Bass.
* Genette, Gérard. (1980 [1972]). ''Narrative Discourse. An Essay in Method''. (Translated by Jane E. Lewin). Oxford: Blackwell.
* Goosseff, Kyrill A. (2014)
''Only narratives can reflect the experience of objectivity: effective persuasion''
Journal of Organizational Change Management, Vol. 27 Iss: 5, pp. 703 – 709
* Gubrium, Jaber F. & James A. Holstein. (2009). ''Analyzing Narrative Reality''. Thousand Oaks, CA: Sage.
* Holstein, James A. & Jaber F. Gubrium. (2000). ''The Self We Live By: Narrative Identity in a Postmodern World''. New York: Oxford University Press.
* Holstein, James A. & Jaber F. Gubrium, eds. (2012). ''Varieties of Narrative Analysis''. Thousand Oaks, CA: Sage.
* Hunter, Kathryn Montgomery (1991). ''Doctors' Stories: The Narrative Structure of Medical Knowledge''. Princeton, NJ: Princeton University Press.
* Jakobson, Roman. (1921). "On Realism in Art" in ''Readings in Russian Poetics: Formalist and Structuralist''. (Edited by Ladislav Matejka & Krystyna Pomorska). The MIT Press.
* Labov, William. (1972). Chapter 9: The Transformation of Experience in Narrative Syntax. In: "Language in the Inner City." Philadelphia, PA: University of Pennsylvania Press.
* Lévi-Strauss, Claude. (1958 [1963]). ''Anthropologie Structurale''/''Structural Anthropology''. (Translated by Claire Jacobson & Brooke Grundfest Schoepf). New York: Basic Books.
* Lévi-Strauss, Claude. (1962 [1966]). ''La Pensée Sauvage''/''The Savage Mind (Nature of Human Society)''. London: Weidenfeld & Nicolson.
* Lévi-Strauss, Claude. ''Mythologiques I-IV'' (Translated by John Weightman & Doreen Weightman)
* Linde, Charlotte (2001). Chapter 26: Narrative in Institutions. In: Deborah Schiffrin, Deborah Tannen & Heidi E. Hamilton (ed.s) "The Handbook of Discourse Analysis." Oxford & Malden, MA: Blackwell Publishing.
* Norrick, Neal R. (2000). "Conversational Narrative: Storytelling in Everyday Talk." Amsterdam & Philadelphia: John Benjamins Publishing Company.
Ranjbar Vahid. (2011) The Narrator, Iran: Baqney
*
*
* Polanyi, Livia. (1985). "Telling the American Story: A Structural and Cultural Analysis of Conversational Storytelling." Norwood, NJ: Ablex Publishers Corporation.
* Salmon, Christian. (2010). "Storytelling, bewitching the modern mind." London, Verso.
* Shklovsky, Viktor. (1925 [1990]). ''Theory of Prose''. (Translated by Benjamin Sher). Normal, IL: Dalkey Archive Press.
* Todorov, Tzvetan. (1969). ''Grammaire du Décameron''. The Hague: Mouton.
* Toolan, Michael. (2001). "Narrative: a Critical Linguistic Introduction"
* Turner, Mark. (1996). "The Literary Mind"
Ranjbar Vahid. The Narrator, Iran: Baqney 2011 (summary in english)
White, Hayden (2010). ''The Fiction of Narrative: Essays on History, Literature, and Theory, 1957–2007.''
Ed. Robert Doran. Baltimore: Johns Hopkins University Press.
White, Hayden (2022). ''The Ethics of Narrative, Volume 1: Essays on History, Literature, and Theory, 1998-2007.''
Ed. Robert Doran. Fwd. Judith Butler. Ithaca: Cornell University Press.
External links
International Society for the Study of Narrative
* [http://www.thereferentialprocess.org/theory/narrative-and-referential-activity Narrative and Referential Activity]
Some Ideas about Narrative – notes on narrative from an academic perspective
{{Authority control
Narratology, *
Composition (language)
Fiction
Fiction-writing mode
Semiotics
Style (fiction)