Abstract
Our participation in the Shared Task on the Analysis of Narrative Levels Through Annotation was motivated by a theoretical and practical interest in narratological phenomena of literary texts. We are a group of four literary scholars, three of whom are also working in the field of Digital Humanities. Combining these two scientific perspectives seems to be a fruitful research approach to formalize concepts of narratology with a focus on intersubjectivity. Therefore, a shared task dealing with narrative levels was particularly appealing to us, since narrative levels are both a delimited aspect of narratological categories and a complex concept of literary theory that can be of great importance for a formal text analysis and the following interpretation.
Highlights
Our participation in the Shared Task on the Analysis of Narrative Levels Through Annotation was motivated by a theoretical and practical interest in narratological phenomena of literary texts
We are a group of four literary scholars, three of whom are working in the field of Digital Humanities
A shared task dealing with narrative levels was appealing to us, since narrative levels are both a delimited aspect of narratological categories and a complex concept of literary theory that can be of great importance for a formal text analysis and the following interpretation
Summary
Our participation in the Shared Task on the Analysis of Narrative Levels Through Annotation was motivated by a theoretical and practical interest in narratological phenomena of literary texts. When thinking about narrative levels in more detail, we noticed the necessity to first address the question of what a narrative is Narratological concepts such as the distinction of exegesis and diegesis, the position of the narrator or the act of telling a story have been the starting point of our reflections. In a revised version of our guidelines, we will think about adding other narratological categories to our tagset, as long as they help identify narrative levels. Those features might be beneficial for subsequent corpus analyses of literary texts. Annotation Guideline No 4 we will at least try to examine the following questions: How should we deal with different forms of imagination (as they appear, e.g., in Anton Chekhovs “The Lottery Ticket”)? What about dreams or visions? Is it sufficient to characterize the narrator, or should we think about the narratee as well? Which specific criteria do we need in order to distinguish between analepses (flashbacks) and embedded narrative levels? Does it make a difference in this context, if an analepsis is completed or not, external or internal? If there is no change of narrator, how comprehensive must our criteria be for regarding presence of another set of characters, spatial distance and temporal distance to the subordinate narrative level? Is our assumption of at least two applying indicators too arbitrary? These and other questions will form the basis for further theoretical discussions and will be integrated in our revised guidelines
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