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Narrative Sequence in Contemporary Narratology

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Narrative Sequence in Contemporary Narratology THEORY AND INTERPRETATION OF NARRATIVE James Phelan, Peter J. Rabinowitz, and Robyn Warhol, Series Editors Narrative Sequence in Contemporary Narratology Edited by RAPHAËL BARONI and FRANÇOISE REVAZ The Ohio State University Press ∙ Columbus Copyright © 2016 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in- Publication Data Names: Baroni, Raphaël, editor. | Revaz, Françoise, editor. Title: Narrative sequence in contemporary narratology / edited by Raphaël Baroni and Françoise Revaz. Other titles: Theory and interpretation of narrative series. Description: Columbus : The Ohio State University Press, 2015[ ] | 2016 | Series: Theory and interpretation of narrative | Includes bibliographical references and index. Identifiers: LCCN 2015036743 | ISBN 9780814212967 (cloth : alk. paper) | ISBN 0814212964 (cloth : alk. paper) Subjects: LCSH: Narration (Rhetoric) | Discourse analysis, Narrative. Classification: LCC PN212 .N3785 2015 | DDC 808/.036— dc23 LC record available at http:// lccn .loc .gov /2015036743 Cover design by Thao Thai Text design by Juliet Williams Type set in Minion Pro Printed by Thomson-Shore, Inc. Cover image: Broadway Boogie- Woogie was painted in 1942 by Piet Mondrian after he reached New York to escape the war in Europe. The Dutch painter was impressed by the movement of cars on the intersecting avenues of the city and the syncopated dynamism of jazz music. In this work, he reinterprets his visual language, made of horizontal and vertical lines and flat areas in primary colors, to increase the rhythm and movement of the composition. Like contemporary narratology, this work reflects a quest for a more dynamic form of expression. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48-1992. 9 8 7 6 5 4 3 2 1 CONTENTS List of Illustrations vii Introduction: The Many Ways of Dealing with Sequence in Contemporary Narratology 1 RAPHAËL BARONI Part I Theorizing Sequence 1 On Narrative Sequence, Classical and Postclassical 11 GERALD PRINCE 2 The Configuration of Narrative Sequences 20 JOHN PIER 3 The Eventfulness of Non- Events 37 PETER HÜHN Part II Rhetorical Perspectives on Narrative Progression 4 Privileged Authorial Disclosure about Events: Wolff’s “Bullet in the Brain” and O’Hara’s “Appearances” 51 JAMES PHELAN 5 Ending Twice Over (Or More): Alternate Endings in Narrative 71 EYAL SEGAL 6 Virtualities of Plot and the Dynamics of Rereading 87 RAPHAËL BARONI Part III Sequences in Nonliterary Narratives 7 Intrigue, Suspense, and Sequentiality in Comic Strips: Reading Little Sammy Sneeze 107 ALAIN BOILLAT and FRANÇOISE REVAZ vi ∙ CONTENTS 8 Musical Narrativity 130 MICHAEL TOOLAN 9 Narrativizing the Matrix 151 EMMA KAFALENOS Part IV Unnatural and Nonlinear Sequences 10 Unusual and Unnatural Narrative Sequences 163 BRIAN RICHARDSON 11 Sequence, Linearity, Spatiality, or: Why Be Afraid of Fixed Narrative Order? 176 MARIE- LAURE RYAN Conclusion: Epistemological Problems in Narrative Theory: Objectivist vs. Constructivist Paradigm 195 FRANCO PASSALACQUA and FEDERICO PIANZOLA Contributors 219 Index 223 ILLUSTRATIONS Figure 6.1 Dynamics of known and unknown plot 94 Figure 6.2 Virtualities of Peter’s Promise 99 Figure 6.3 Virtualities of Prayer at Gethsemane 100 Figure 7.1 Winsor McCay, Little Sammy Sneeze, September 25, 1904 108 Figure 7.2 Peter Newell, The Naps of Polly Sleepyhead, 1906 110 Figure 7.3 The Lumière brothers, L’Arroseur arrosé, 1895 112 Figure 7.4 Winsor McCay, Little Sammy Sneeze, April 2, 1905 114 Figure 7.5 Winsor McCay, Little Sammy Sneeze, 1904–6 115 Figure 7.6 Winsor McCay, Little Sammy Sneeze, 1904–6 118 Figure 7.7 Winsor McCay, Little Sammy Sneeze, March 12, 1905 118 Figure 7.8 Winsor McCay, Little Sammy Sneeze, January 29, 1905 119 Figure 7.9 Roba, Aventures de Boule et Bill, 1999 121 Figure 7.10 Winsor McCay, Little Sammy Sneeze, October 23, 1904 123 Figure 7.11 Winsor McCay, Little Sammy Sneeze, January 15, 1905 124 Figure 7.12 Winsor McCay, Little Sammy Sneeze, October 16, 1904 126 Figure 11.1 Types of networks: (a) distributed network, (b) tree, (c) complete graph 179 Figure 11.2 Generative network for the sample stories 185 vii viii ∙ LIST OF ILLUSTRATIONS Figure 11.3 The linear discourse structure of Robert Coover’s “The Babysitter” 188 Figure 11.4 What the reader’s mental map of “The Babysitter” could look like 189 Figure 11.5 Structure of a typical computer game 192 INTRODUCTION The Many Ways of Dealing with Sequence in Contemporary Narratology RAPHAËL BARONI SINCE ARISTOTLE, poeticians and, more recently, semioticians, linguists, and narratologists have debated many basic features of narrative first identi- fied in thePoetics. Among them, we find the common assumption that nar- rative is an “imitation” or “representation” of actions (mimesis praxeos); that this “representation” aims to elicit emotions, such as fear and hope; and that “well-formed” stories are organized as a “whole” (holos), meaning that they possess a beginning, a middle, and an end. These three aspects of narrative are related to temporality, since actions told unfold in time, fear and hope orient the attention of the audience toward an uncertain resolution, and the unity of representation is assured by the cataphoric function of the beginning and the anaphoric function of the ending. Since then, however, there have been many ways to deal with the nature, role, and relative importance of each of these components of narrative sequences. Indeed, as stated by Hilary Dannenberg: “Many key definitions of narrative hinge on the aspect of temporal sequentiality, and the repeated attempts to redefine the parameters of plot reflect both the centrality and the complexity of the temporal dimension of narrative” (“Plot” 435). Based on the duality of fabula and sjuzhet emphasized by Boris Tomachevsky, con- ceptualizations of narrative sequence can be linked either to the chronology of the events, to its reorganization by the narrative representation, or to the 1 2 ∙ INTRODUCTION, RAPHAËL BARONI interplay between these two sequential dimensions.1 Derived from Aristotle’s muthos, the concept of plot— not necessarily synonymous with sequence— is even more polysemic, since it can be related to each of these aspects and can also describe additional properties: for example, “plot” can be understood as the causal relation between the events told (Forster) or as a rhetorical device whose primary function is to arouse a “cognitive desire” for a possible end- ing (Brooks 37; Dannenberg, Coincidence and Counterfactuality 6; Baroni 18), while “emplotment” is sometimes viewed as a configuration conferring mean- ing and unity on the endless and chaotic flow of time (Ricœur). This has led H. Porter Abbott to state that plot “is an even slipperier term than narration, both more polyvalent and more approximate in its meanings, indeed so ‘vague in ordinary usage’ that narratologists often avoid it altogether” 43( ). Hence, while it is necessary to distinguish between the slippery notion of plot and a more precise conceptualization of narrative sequences— with a focus on fab- ula and/or sjuzhet—, there is a need to clarify the relation between the two concepts, because it is obvious that plot is connected in some ways with the sequential nature of narratives. In a recent survey, Karin Kukkonen suggests distinguishing between “three basic ways of conceptualizing plot”: (1) Plot as a fixed, global structure. The configuration of the arrangement of all story events, from beginning, middle to end, is considered. (2a) Plot as progressive structuration. The connections between story events, motivations, and consequences as readers perceive them are considered. (2b) Plot as part of the authorial design. The author’s way of structuring the narrative to achieve particular effects is considered. (§2–§5) In this volume, while some authors, like Prince or Hühn, focus more spe- cifically on the configuration of the story events, others, like Eyal Segal or James Phelan, are more focused on the progressive structuration of the story by the reader and the authorial design of the narrative discourse. Indeed, the history of narratology provides an interesting insight on how various episte- mological frameworks influence the way “slippery” objects are seized. While formalists and structuralists mainly focused their attention on the logical organization of fully formed stories in order to describe their immanent (and more or less invariant) sequential organization, more recent paradigms— including reception theory (Eco), psychoanalysis (Brooks), rhetoric (Phelan, Sternberg), and cognitive science (Herman, Ryan, Fludernik)—have privileged 1. On this specific aspect, see Sternberg, Expositional Modes and Temporal Ordering. SEQUENCE IN CONTEMPORARY NARRATOLOGY ∙ 3 a more dynamic perspective, highlighting the moving configuration of nar- rative sequences in the reader’s mind while they progress through the story. As discussed by Franco Passalacqua and Federico Pianzola in the conclusion of this volume, this “shift”2 can be also described as an epistemological tension between an objectivist conception, centered on a reified and/or idealized fab- ula, and a constructivist conception, focusing on the interaction between the objective features of narrative representations and the subjective experience of the audience. This shift stood out clearly when Umberto Eco wrote, in 1979, that fabula “is not produced once
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