This handbook brings together 42 contributions by leading narratologists devoted to the study of narrative devices in European literatures from antiquity to the present. Each entry examines the use of a specific narrative device in one or two national literatures across the ages, whether in successive or distant periods of time. Through the analysis of representative texts in a range of European languages, the authors compellingly trace the continuities and evolution of storytelling devices, as well as their culture-specific manifestations. In response to Monika Fludernik’s 2003 call for a "diachronization of narratology," this new handbook complements existing synchronic approaches that tend to be ahistorical in their outlook, and departs from postclassical narratologies that often prioritize thematic and ideological concerns. A new direction in narrative theory, diachronic narratology explores previously overlooked questions, from the evolution of free indirect speech from the Middle Ages to the present, to how changes in narrative sequence encoded the shift from a sacred to a secular worldview in early modern Romance literatures. An invaluable new resource for literary theorists, historians, comparatists, discourse analysts, and linguists.

As a well-known phenomenon in everyday communication, ambiguity has increasingly become the subject of interdisciplinary research in recent years. However, within this context, it has been observed that words or expressions situated within the artistic framework of storytelling have not yet been at the centre of research interest. This book aims to bridge this gap by examining the phenomenon of ambiguity from the perspective of narratology – understood as a general theory of narration and narrative communication. The volume pursues two goals: Firstly, it seeks to demonstrate that the interdisciplinary combination of linguistics, cultural history and narratology enriches the field of literary studies significantly. This focus not only highlights how narrative techniques often rely on everyday language conventions, but also explores how various textual features, narrative devices, or even entire storylines can be affected by phenomena (or lead to experiences) of ambiguity. These ambiguities often serve as poetic strategies that are deliberately set in the communicative process of text and reader to achieve certain narrative goals. Secondly, ambiguity – as a characteristic of (narrative) communication – seves as a linking element across different fictional (and factual) text types and genres throughout time and cultures. The collected essays cover a wide range of narrative texts, from Roman comedy to funerary reliefs, from historiographical writings to utopian tales, from Goethe’s novels to contemporary fantasy literature. In its broad approach, the volume thus contributes to the project of diachronic narratology, which, like the research on ambiguity in literary and cultural studies, has recently gained increasing momentum. The combined consideration of ambiguity and narratology not only raises awareness of phenomena of ambiguity in narrative texts but also encourage reflection on the theoretical foundations of narrative, particularly on the methods and devices used to describe these ambiguous structures. Overall, the volume represents an exploration of a relatively unexplored interdisciplinary field, aiming to stimulate further research.

This handbook provides a systematic overview of the present state of international research in narratology and is now available in a second, completely revised and expanded edition. Detailed individual studies by internationally renowned narratologists elucidate central terms of narratology, present a critical account of the major research positions and their historical development and indicate directions for future research.

Stories are everywhere, from fiction across media to politics and personal identity. Handbook of Narrative Analysis sorts out both traditional and recent narrative theories, providing the necessary skills to interpret any story. In addition to discussing classical theorists, such as Gérard Genette, Mieke Bal, and Seymour Chatman, Handbook of Narrative Analysis presents precursors (such as E. M. Forster), related theorists (Franz Stanzel, Dorrit Cohn), and a large variety of postclassical critics. Among the latter particular attention is paid to rhetorical, cognitive, and cultural approaches; intermediality; storyworlds; gender theory; and natural and unnatural narratology. Not content to consider theory as an end in itself, Luc Herman and Bart Vervaeck use two short stories and a graphic narrative by contemporary authors as touchstones to illustrate each approach to narrative. In doing so they illuminate the practical implications of theoretical preferences and the ideological leanings underlying them. Marginal glosses guide the reader through discussions of theoretical issues, and an extensive bibliography points readers to the most current publications in the field. Written in an accessible style, this handbook combines a comprehensive treatment of its subject with a user-friendly format appropriate for specialists and nonspecialists alike. Handbook of Narrative Analysis is the go-to book for understanding and interpreting narrative. This new edition revises and extends the first edition to describe and apply the last fifteen years of cutting-edge scholarship in the field of narrative theory.

Figurally colored narration (FCN) is narrator’s discourse (whether in the first or third person) that adopts salient features of character’s text, mainly valuation and designation, without signaling the figural part in any way. Unlike free indirect discourse, FCN does not refer to current acts of consciousness, but to typical, characteristic segments of the character’s text. There are two main modes of FCN: contagion of the narrator’s discourse with a character’s text, and the more or less ironical reproduction of a character’s text in narrative discourse. In the latter case, the narrator’s criticism may refer to either the content of the character’s text or to its form of expression. This study begins with a definition and an example of FCN as a narrative device, followed by an analysis of terms used for FCN in German, Anglophone and Russian literary criticism. Building on the perception of FCN as a phenomenon of interference between narrator’s and character’s text (text interference), this book analyses the function and applications of FCN in narratives written in German, English and Russian.

An Introduction to Narratology is an accessible, practical guide to narratological theory and terminology and its application to literature. In this book, Monika Fludernik outlines: the key concepts of style, metaphor and metonymy, and the history of narrative forms narratological approaches to interpretation and the linguistic aspects of texts, including new cognitive developments in the field how students can use narratological theory to work with texts, incorporating detailed practical examples a glossary of useful narrative terms, and suggestions for further reading. This textbook offers a comprehensive overview of the key aspects of narratology by a leading practitioner in the field. It demystifies the subject in a way that is accessible to beginners, but also reflects recent theoretical developments and narratology’s increasing popularity as a critical tool.

The Bloomsbury Handbook of Literary and Cultural Theory is the most comprehensive available survey of the state of theory in the 21st century. With chapters written by the world's leading scholars in their field, this book explores the latest thinking in traditional schools such as feminist, Marxist, historicist, psychoanalytic, and postcolonial criticism and new areas of research in ecocriticism, biopolitics, affect studies, posthumanism, materialism, and many other fields. In addition, the book includes a substantial A-to-Z compendium of key words and important thinkers in contemporary theory, making this an essential resource for scholars of literary and cultural theory at all levels.