Abstract
This article provides a brief discussion of the theoretical and historical underpinnings of the study of narrativity in lyric poetry. As part of the justification of studying narrative aspects of lyric poetry, reference is made to contemporary paradigms in postclassical narratology of which transgeneric narratology is one. The project titled, “Verse and narrative: narrative structures and techniques in lyric poetry”, from which the articles in this issue emanated, is described briefly by presenting the objectives of the research and by discussing the theoretical and historical implications of such a project. The theoretical part of the article concludes with a list of the preliminary findings. The article also serves as an introduction to this issue of “Literator”, which contains the contributions on English and Dutch texts to the project.
Highlights
Narratology, originally defined as the theory of narrative texts (Bal, 1985:12) and as the study of the form and functioning of narrative (Prince, 1982:4; Du Plooy, 1986:274, 278), has, since the early days of its structuralist origins, proved itself a versatile discipline, adapting to and incorporating a variety of other theoretical approaches and contextual impulses and demands over the past three decades (Hühn et al, 2009)
Transgeneric and transmedial approaches in narratology are concerned with the application of narratological concepts to genres and media which are not primarily regarded as narrative, but do possess narrative aspects
What would be considered as narrative in a lyrical poem? How does one discuss the narrative aspects of a poem without neglecting the essential poetic and lyric character of the poem? Can narratological concepts be used in this endeavour, and if so, which concepts? Where does one start with such a narratological analysis? To what extent can narratological concepts be adapted for optimal use in the analyses and interpetation of lyric poems?
Summary
Narratology, originally defined as the theory of narrative texts (Bal, 1985:12) and as the study of the form and functioning of narrative (Prince, 1982:4; Du Plooy, 1986:274, 278), has, since the early days of its structuralist origins, proved itself a versatile discipline, adapting to and incorporating a variety of other theoretical approaches and contextual impulses and demands over the past three decades (Hühn et al, 2009). The scope of the basic narratological models has been extended to include and accommodate a variety of theories, concepts and analytic procedures. Transgeneric and transmedial approaches in narratology are concerned with the application of narratological concepts to genres and media which are not primarily regarded as narrative, but do possess narrative aspects. The application, adaptation and reformulation of narratological concepts for optimal functionality in the analyses and interpetation of poetry, drama, film, the visual arts, dance and games form part of the transgenerical and transmedial narratological project
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