Narratology As a Narrative Philosophy Serdechnaya Vera Vladimirovna

18 Контекст и рефлексия: философия о мире и человеке. 4`2012 / UDC 101.8

Narratology as a narrative philosophy http://publishing-vak.ru ) u

Serdechnaya Vera Vladimirovna PhD (Philology), "ANALITIKA RODIS" LLC, science editor, [email protected] P.O. box 142400, Rogozhskaya st. 7, Noginsk, Moscow region, Russia; e-mail: [email protected]

Abstract The article is dedicated to the phenomenon of narratology as one of the important modern schools of cross-disciplinary character. Having denoted one of

the sides of anthropological turn in philosophical studies of the 20th century, ( «АНАЛИТИКА РОДИС» Издательство narratology is a relative of semiotics, literary studies, mythocritisism, and linguistics. The author thinks that narratology as a general aesthetic discipline is appealed for sorting out the relations between eventful ranges of narrative and narrating, for investigating not only the character of the phenomenon but also its communicative characteristics. The main concept of narratology as a branch of philosophical knowledge is the confirmation of the narrative as a prototype of the epistemological matrix. The current state of narratology makes it possible to talk about formation of a science where the distinctive feature of its cognition object is the presence of the two eventful ranges – referential and discursive. The author considers the history of the science, detaches the periods of literary and humanitarian understanding and perception of narratology as the analysis methodology. The author also considers narrative in the context of rhetorical approach, in the case of eventfulness, chronotopical line-up and focalization.

Keywords Narrative, narrative turn, narration, event, double eventfulness, plot (subject), structuralism, axiology, rhetorical modality, chronotope, diegesis, focalization.

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Introduction semantic richness of the inner form of the Latin word narrare related to gnarus Development of humane sciences ("learned, well-known"), which ascends in the 20th century, their division and to the Indo-European root *gno-. Ety- branching led to the search of some new mology clarifies the connection of the theoretical approach which would com- term narratio with such words as cogni- bine with achievements of traditional tive, diagnosis, gnosis, norm etc. These knowledge and could be used for explo- shades of meaning form the semantic ration of various cultural objects. One of field of the conceptnarrative, actualized the attempts to solve the problem was as part of narratology in the 20th cen- narratology – a branch of humanitarian tury. science, studying various cultural phenomena, whether it be artistic or docu- Narratology in the bosom of mentary text, a motion picture or an ev- sciences eryday conversation, – as the results of a narration construction. The phenomena, which entered Narration or narrative (from Lat- in the field of narratology research, have in narrare – to tell, to speak, to devote), been studied earlier within the scope of being understood in linguistics as one literary studies, linguistics, psychology, of the types of speech, prior to the be- myth and movie critics and aesthetics in ginning of structuralist era was the ob- general. Narratology coming out of for- ject of study of western narratology and mal and structural literary studies hereaf- was defined as "presence of the voice of ter obtained a cross-disciplinary status. mediated instance in a text"1 – a narra- Like semiotics, narratology deals tor. Formal literary studies, structuralism with sign-oriented units; it owes to Sau- and post-structuralist researches expand- ssure's linguistics through separation of ed the concept of narrative, enriched its two-dimensional units – significative content, so that narratology became a ba- (denotative) and signified. But, as - dis sic humanitarian branch of science. tinct from semiotic objects, the subjects Extension of narrative problem- of narratology researches are not directly atics in some sense corresponds to the associated with their signified (designa- tum), but organize their conceptual and 1 Schmid, W. (2003), Narratology [Narratologiya], Moscow, p. 10. formal structure according to some pre-

Нарратология как философия повествования 20 Контекст и рефлексия: философия о мире и человеке. 4`2012 determined scheme. Researches in nar- narration – one of the forms of speech – ratology relate to semiotics in their zeal became the definition for the object to detach distinct correlations (balance) analyzed by narratology. The linguistic between sign and sense; many narratolo- nature of the object under study is mo- gists widely use the semiotic approach tivated by narratologists' statement that (R. Barthes, B. Uspenskii, Yu. Lotman). the total volume of the fable content of Literary studies is the field most a narrative composition can be summed close to narratology, as the first and the up in one sentence. And if a sentence is most significant researches of narrative the subject of the research of linguistics texts were carried out by theorists of then a narrative discourse, which is more literature. Narratology owes to literary complex in structure, should be exam- studies due to the fact that it is armed ined in terms of linguistic regularities on with the theory of the plot and its re- a new level. search became one of the principle direc- Definition of the main feature of tions of narrative study. Another impor- a narrative as availability of two event- tant borrowing is the theory of points of ful ranges – referential and discursive – view (voices) in works of fiction. made it possible for narration theorists Mythocritisism with its confirma- to expand the narrative concept to verbal tion of typological uniformity of plots and non-verbal cultural phenomena: all in the world literature also became one genres of literary and folklore, histori- of the sources of narratology. Construc- ography, cinema art, pictorial art etc. In tions made by researchers of myth struc- such a manner narratology as a general tures, such as V. Propp, C. Levi-Strauss, aesthetic discipline is to sort out the re- A.-J. Greimas, V. Meletinskii, were an lations between eventful ranges of nar- input of great significance into narra- rative and narrating, to explore not only tology schemes as well as methods of the character of the phenomenon but its the research of the mythological basis communicative characteristics as well. in works of literature: these are heroes' typologies, functional approach and epi- Narrative turn in philosophy sodic analysis. The linguistic turn of philoso- The main concept of narratology phy of the 20th century was essential as a branch of philosophical science is for narratology, because of the fact that the confirmation of a narrative as the

Сердечная Вера Владимировна Методика и методология 21 prototype of epistemological matrix. Ac- tive: "a narrative form … constitutes the cording to narratology philosophers for fundamental, psychological, linguistic, cognition of the social realm we use the culturological and philosophical basis same mechanism as for construction of a for our attempts to come to terms with narrative: we mark the separate facts out nature and the living conditions", which of phenomena continuum, invest them in turn makes it possible "to understand with the event status and then draw up and create senses"2 When stressing the determination ties between them which polycultural character of narrativeness at the same time set the time characteris- P. Ricœur notices: " we cannot imagine tic of examinable. The events drawn up a culture where people no longer know in such a manner become the plot as they what it means to narrate"3. comply with narrative regularities. The As narratology theorists admit, plot, named briefly, becomes the concept atomism of narratology methods and ter- of thought and the word of speech: for minology yet doesn't allow speaking of example, "war", "love", "revolution", this scholarship as of a fully developed "soul" etc. In the language perception and integral science. But it is just in the each of them is related to a particular tideway of narratology that the positions plot, a set of characters with the same of structural literary studies are held, en- mythological and historical roots. riched in the wideness of poststructural- In such a manner the current ist literary theory which makes narratol- state of narratology makes it possible to ogy, by virtue of approach complexity, speak of formation of a science in which one of the most convenient methodolog- the distinctive feature of the perception ical attitudes when examining a literary objective lies in the availability of the work as a single and integral phenome- two eventful ranges – referent and dis- non. cursive. While combining methods and 2 Brockmeier, J., Harre, R. (2000), approaches of literary studies, linguis- "Narrative: Problems and promises of tics, mythocritisism narratology extends an alternative paradigm" ["Narrativ: influence on aesthetics and epistemol- problemy i obeshchaniya odnoi al'ternativy"], Voprosy filosofii, No 3, ogy, acting as a contender to the role p. 30. of the general humane science. Herein 3 Ricœur, P. (2000), Time and the key factor is the acknowledgment narrative [Vremya i rasskaz]: in 2 vol., Vol. 2, Moscow, St. Petersburg, of the meta-cultural basis of a narra- p. 36.

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Formation (origin) of instituted the functional approach to lit- narratological problematics: erary texts and distinguished the charac- formalism and structuralism ters according to their functional roles; B.Uspenskii closely examined the point Among the predecessors of narra- of view in art; M. Bakhtin took up the tological approach there are many schol- problem of "voices" in compositions, de- ars and schools of humanities. Long be- limitation of speech genres and philoso- fore the term appeared, various aspects phy events. This list can be continued; of narratological problematics had been but it just the denoted ideas ringed in the considered in the context of literary stud- narratological problematics. ies and the theory of narrations. German One of the most significant works scientists (O. Ludwig, K. Friedemann, K. for narratology was "Morphology of a Hamburger, F.K. Stanzel, and G. Muller) Fairy-tale" by V. Propp. Although the and English-speaking researches (P. book, which was published in 1928, was Lubbock, N. Friedman, K. Brooks, R.P. translated into English just 30 years af- Warren etc.) made their contribution to ter, the ideas, expressed in the book, to a the development of narration theory. large extent influenced the development However, the fundamental prob- of structuralism. While accusing Propp lems of oncoming narratology were for- of formalism (Levi-Strauss) or of attach- mulated in works of Russian theorists of ment to narrative progression (Greimas), literature. As a German theorist of litera- western researches developed his method ture W.Schmid notices, "all international and built their own models upon it. Ac- narratology … got vital impulses just cording to K. Bremon "most of the works on the part of Russian literary theory"4. which are considered to be the structural Thus formalists developed opposition of examinations of narrative texts were cre- the fable and the plot (V. Eikhenbaum, ated on the basis of "Morphology of a Yu. Tynyanov, V. Shklovskii), V. Propp Fairy-tale"5.

4 Levchenko, Ya., Roginskaya, O. 5 Bremond, C. (2000) "Structural "Narratology – c'estmoi?: Wolf Schmid examination of narratives after V. and his Russian colleagues about Propp" ["Strukturnoe izuchenie approximate" ["Narratologiya – c'est povestvovatel'nykh tekstov posle V. moi?: Vol'f Shmid i ego rossiiskie kollegi Proppa"], in Kosikov, G.K. French o blizkom"] , available at: www.russ.ru/ semiotics: From structuralism to post- krug/20030717_narrat.html structuralism [Frantsuzskaya semiotika:

Сердечная Вера Владимировна Методика и методология 23

The concept narratology itself promoted by the conceptual system found came into active use after the works by by structuralists – the exact system of lin- French structuralists – R. Barthes, C. guistics: so R. Barthes sees right to "lay Bremond, C. Levi-Strauss, as well as by the model of linguistics itself into the basis Ts. Todorov. In the 70s of the 20th cen- of structural analysis of narrative texts"7. tury there appeared works by G. Gen- When reducing a narrative to a sentence ette, G. Prince, W. Schmid which later ("from the structural point of view all nar- became classical. rative texts are constructed in accord with Narratology itself was formed in the model of a sentence"8), structuralists the bosom of structuralism, and it was propose examining of narrations under the stamped on the character of its meth- notions of a sentence as well, and to be odology. Preciseness and specificity of more precise – of a verb: Genette "formu- structural analysis conclusions met with lates the problem of the analysis of a narra- support in considering the two layers of tive discourse in accord with the categories a work of fiction – "internal" and "exter- taken from verb grammar"9; Barthes main- nal" (B. Uspenskii), the field of syntag- tains that in a narrative text one can find matics and the field of pragmatics, and at the availability of all the basic categories their intersection the kernel of narratol- of a verb"10. The principle of transfer of ogy was found. As a literary theory re- searcher and a translator of structuralists' 7 Barthes, R. (1987), "Introduction to the structural analysis of narratives" works S. Zenkin notices, "the rational ["Vvedenie v strukturnyi analiz designs of rhetoric and narratology are povestvovatel'nykh tekstov"], in Kosikov, performing the same task which he dis- G.K. Foreign aesthetics and literary theory XIX–XX cc. Tractates, articles, covered in Roland Barthes's semiology – essays [Zarubezhnaya estetika i teoriya "to stop dizziness of sense"6. literatury XIX–XX vv. Traktaty, stat'i, esse], Moscow, p. 389. Clearness and uniqueness of liter- 8 Ib, p. 390. ary expositions should have been probably 9 Genette, G. (1998), Figures [Figury]: in 2 Ot strukturalizma k poststrukturalizmu], vol., Vol. 2., Moscow, p. 68. Moscow, p. 239. 10 Barthes, R. (1987), "Introduction to 6 Zenkin, S. (1998), "Overpassed dizziness: the structural analysis of narratives" G. Genette and the fate of structuralism" ["Vvedenie v strukturnyi analiz ["Proeodolennoe golovokruzhenie: Zherar povestvovatel'nykh tekstov"], in Kosikov, Zhenet i sud'ba strukturalizma"], in G.K. Foreign aesthetics and literary Genette G. Figures [Figury]: in 2 vol., Vol. theory XIX–XX cc. Tractates, articles, 1, Moscow, p. 20 essays [Zarubezhnaya estetika i teoriya

Нарратология как философия повествования 24 Контекст и рефлексия: философия о мире и человеке. 4`2012 phrasal roles to plotlines is vividly shown "In Search of Lost Time" was examined in Greimas's models. by G. Genette in his book "The Narrative In such a way the purpose of a Discourse". structural, classical consumption of the One of the major problems of nar- science dealing with narrative texts was ratology turned out to be the outlining the multilevel analysis of fiction works of the boundaries of the subject, defini- based on the linguistic categories and tion of narrativeness itself. G. Genette falling into two major parts – the analy- recommends to resist the illusion "that sis of narrating and the analysis of a nar- narration goes without saying"11; R. Bar- ration itself, which, providing all pos- thes observes that "starting from Aristotle sible parameters are properly accounted, researches … incidentally came back to could give the maximum defined and the problem of the narrative form"12. J. structured result. Brockmeier and R. Harre denote that the The achievement of structuralism difficulty in definition of the essence of a narratology is the development of the narrative can be explained by the fact that main subject areas of the school: modifi- "from early childhood we grew in his- cation of functional analysis (R. Barthes, torifying repertory of our language and C. Bremond), definition of correlation of our culture" from whence the narrative actants in a narrative text (C. Bremond, "cleared"13 for perception and definition. A.-J. Greimas), application of the linguis- When analyzing the structural tic categories of tense, mode and voice definitions of narrativeness G. Prince

(G. Genette), aspect, mood, person (R. 11 Genette, G. (1998), Figures [Figury]: in 2 Barthes) to the narrative analysis, devel- vol., Vol. 1, Moscow, p. 283. opment of typological classification of 12 Barthes, R. (1987), "Introduction to the structural analysis of narratives" the point of view (B. Uspenskii). Models ["Vvedenie v strukturnyi analiz and schemes of narratological analysis povestvovatel'nykh tekstov"], in Kosikov, G.K. Foreign aesthetics and literary in structuralists' works were applied both theory XIX–XX cc. Tractates, articles, to fairy-tales and myths and to the works essays [Zarubezhnaya estetika i teoriya of newer literature: the complex analysis literatury XIX–XX vv. Traktaty, stat'i, esse], Moscow, p. 387. of Balzac's novel "Sarrazin" formed the 13 Brockmeier, J., Harre, R. (2000), basis of R. Barthes's work "S/Z", Prust's "Narrative: Problems and promises of an alternative paradigm" ["Narrativ: problemy literatury XIX–XX vv. Traktaty, stat'i, i obeshchaniya odnoi al'ternativy"], Voprosy esse], Moscow, p. 391. filosofii, No 3, p. 33.

Сердечная Вера Владимировна Методика и методология 25 draws up the narrative characteristics Greimas and J. Courtes (in their work list: eventfulness (narrative eventful- "Semiotics", 1979) suggest considering ness if taking into account the "double narrativeness as an organizing feature of eventfulness" of a narrative, described any discourse. in Russian tradition) and correlation of In such a manner the definition of the two layers of a narration – discourse the two-planned nature as the outstand- and story; existence of no less than two ing feature of a narrative resulted in events; narrative integrity; action com- overextension of a narrative: a narration, plexity. The structuralist definitions of a traditionally defined as a type of speech, narratological text follow the etymology came with a group of literature genres of literary studies of the concept. and then started claiming the rank of Delimitation of the two levels of the principle of constitutive structuring an existential narration – referential and of the majority of cultural objects. This discursive – as the critical characteris- overextension coincided with the decline tic of a narrative – led to considerable of structuralism: a narrative became the enlarging of the narrative area. Thus, subject matter of post-modern philoso- according to R. Barthes, the research phy. According to V. Markovich, narra- area for narratologists is a narrative text tology is "the only component of struc- taken as a whole, and the examples are turalism, which entered the 21st century "a myth, a legend, a fable, a fairy-tale, a as a developing discipline"15. comedy, a pantomime, a pictorial canvas … a comic paper, a news chronicle, an Enlarging the area of the everyday conversation"14. B. Uspenskii research: narratology as a field analyzes the problem of perspective in art expressed in the term of point of view humanitarian knowledge both in literature and pictorial art. A.-J. The literature and art history 14 Barthes, R. (1987), "Introduction to the structural analysis of narratives" characteristics of a narration (which are ["Vvedenie v strukturnyi analiz povestvovatel'nykh tekstov"], in Kosikov, 15 Markovich, V.M. (2004), "Narratology as G.K. Foreign aesthetics and literary a general human science. Interview with theory XIX–XX cc. Tractates, articles, V.M. Markovich" ["Narratologiya kak essays [Zarubezhnaya estetika i teoriya obshchegumanitarnaya nauka. Interv'yu s literatury XIX–XX vv. Traktaty, stat'i, V.M. Markovichem"], Mir russkogo slova, esse], Moscow, p. 391. No 1, p. 59.

Нарратология как философия повествования 26 Контекст и рефлексия: философия о мире и человеке. 4`2012 further developed in works by V. Tyupa, Enlargement of the narrative area E. Meletinskii, W. Schmid) thereafter corresponded with the perception of the gave a dominating place to another prob- complex structure of a narration as a sig- lematics of narrativeness. A metaphoric nificant object. The distinct semiotic de- transfer of properties and qualities of a scriptions were substituted with the real- narrative text to the new branches of hu- ization of ambiguousness of a narrative man mental activity made it possible to structure, anticipating the deconstruction widen and enrich the concept of narra- method. The phenomenon of narrative- tiveness. ness itself turned out to be determined Consideration of historical works by structural disturbances: "while inces- in the narrative perspective marked a santly playing with various potential pos- significant point: history as a science sibilities the structure kind of "hobbles" least of all apt to frequentative state- and depending on realization of these ments represented a productive soil for possibilities gives the narrative its spe- that. F. Ankersmit, H. White, A. Danto, cific "tone", its energy"17. U. Halley proved the direction of narra- In the foreword to his book "Nar- tive historiography. Examination of the rative logic: Semantic analysis of histori- narrative nature of the established histor- ans' language" F. Ankersmit determines ical concepts (such as Renaissance, En- the cause of the narrative turn. Though lightenment etc.) leads to understanding the philosophy of the 20th century was of the meta-cultural essence of narration mainly the philosophy of language, in its and that in its turn resulted in the cause spotlight there still was expression (as- of philosophical resorting to a narrative. sessment), i.e. the form of sense composi- According to J. Brockmeier and R. Harre tion with the criterion of truth as the main the "Narrative turn" must be considered one. The assessment philosophy ignored as 'a part of more significant tectonic the fact that world perception is created shifts in culturological architecture of 17 Barthes, R. (1987), "Introduction to knowledge which accompany the crisis the structural analysis of narratives" of modernistic episteme"16. ["Vvedenie v strukturnyi analiz povestvovatel'nykh tekstov"], in Kosikov, 16 Brockmeier, J., Harre, R. (2000), G.K. Foreign aesthetics and literary "Narrative: Problems and promises of an theory XIX–XX cc. Tractates, articles, alternative paradigm" ["Narrativ: problemy essays [Zarubezhnaya estetika i teoriya i obeshchaniya odnoi al'ternativy"], Voprosy literatury XIX–XX vv. Traktaty, stat'i, filosofii, No 3, p. 29. esse], Moscow, p. 420.

Сердечная Вера Владимировна Методика и методология 27 on the basis of more massive, more com- The first-rate theorist of the epoch plex linguistic units than a statement or P. Ricœur describes the conflict between an expression – narratives, stories where two schools of narratological study like the criterion of truth is not applicable. that: "Epistemological problem mostly Ankersmit clarifies the statement in terms lies in conjunction of explanation carried of metaphor: like a narrative it is a rep- out by semiotic and linguistic sciences, resentation of a subject, an overlapping with preliminary understanding which of some kind of structure on it, but it is falls within the domain of language prac- not an assessment. Therefore philosophy tice adoption"20. faces a new problematics, "narrative rep- In such a manner a new status of resentation apposes us a range of philo- a narrative set new questions. From the sophical problems … irreducible to those, structure of a narrative the researches the epistemological analysis of the true referred to pragmatic aspects, correla- unit statement is pointed at"18. tion between described and represented, Such a turn-out in narrative exam- to the very logic of a narrative, recog- ination (taken up by philosophers, histo- nized as a sort of meta-language of cul- rians, linguists) in some way sent narra- ture. This expandability made a narrative tology to back in its classic function of rather interesting for psycholinguists, literary studies. And though Ankersmit psychologists, sociologists. From that misspeaks that historical narration can be aspect a narration obtained new features considered as the progenitor of other nar- and came under review as a universal rative genres, his resort to logical struc- structure of forming-up the temporal, di- ture of a narrative results in his giving up mensional and logical field of cogitation. structuralist tradition: "I will ignore all The ontological status of a narrative al- that was written about narratives … by lowed considering it as a tool of social French structuralists which are trying to impact (interaction), as a legal provision find out empirical laws that control the for future politics. condition of existing narratives"19. With the aim of determining a narration as a polycultural rule of sense 18 Ankersmit, F.R. (2003) Narrative logic: a semantic analysis of the historian's construction a step over its bounds was language [Narrativnaya logika. Semanticheskii analiz yazyka istorikov], 20 Ricœur, P. (2000), Time and narrative Moscow, p. 10. [Vremya i rasskaz]: in 2 vol., Vol. 2, 19 Ib., p. 37. Moscow, St. Petersburg, p. 8.

Нарратология как философия повествования 28 Контекст и рефлексия: философия о мире и человеке. 4`2012 needed; at determining the area of narra- profitable analysis of narrative cultural tive it was found out that narrative "sce- phenomena can be considered as regular. narios" of European thought and litera- The clearness of narrative coordinates – ture proved to be not so universal under eventful, actant, chronological and axi- the postmodern nihilism. Lyotard gives ological – in some sense stands against his definition of the epoch: "we consider the basic principles of post-modern. "postmodern" to be distrust in reference Nevertheless, together with to meta-narratives"21. Ricœur we'd like "this notwithstand- Having dispensed with the op- ing to trust the demand for consent still pression of meta-narratives the culture structuring the readers' expectations and appears to be broken into pieces, indefi- believe that along come up new narrative nite, indefinable. Destruction of total sig- forms which we cannot yet name"24. nificance of the concepts of the beginning We can consider the definition of and the end of events led to polymorphs, its ontological status as a means of sense uncertainty and plurality of treatments of construction to be the crowning achieve- everyday, historical and literature events, ment of the post-structuralist epoch of in fact "the narrative function loses its narrative examination. In this aspect functors: a great hero, big dangers, a the critical characteristics of a narrative great around-the-world cruise and great should be considered in order to clarify objectives"22. Thus Ricœur is concerned the structure of the aesthetic influence of that we "are the witnesses – and allies – a narrative. of a particular mode of death, death of the ability to tell stories whereof arises Structure and ontological status the art of narration in all its forms"23. of a narration Probably the circumstance that postmodern literary narratology did not form an integral school with variants of One of the basic problems of narratology is the definition of the key feature 21 Lyotard, J. (1998), The Postmodern Condition [Sostoyanie postmoderna], of a narrative, a necessary and obligatory Moscow, St. Petersburg, p. 10. difference of a narration from other lin- 22 Ib. guistic, literary and cultural phenomena. 23 Ricœur, P. (2000), Time and narrative Among the other properties, to our opin- [Vremya i rasskaz]: in 2 vol., Vol. 1, Moscow, St. Petersburg, p. 36. 24 Ib.

Сердечная Вера Владимировна Методика и методология 29 ion, there is the double eventfulness (M. prose"27 can be purely referred to narra- Bakhtin), formation of chronology and tiveness in general. Resorting to rhetoric topology (P. Ricœur, G. Genette), com- helps in designing "the inner interlocutory municativeness, axiologism (J.Lyotard). features" of novel words, in other words – These qualities eventually allow defining in description of its communicative trend. the borders of ontological status of nar- It is just the communicative basis rative perception. In order to separate a motivated the spread of "discourse lin- narrative from allied cultural phenomena guistics" (R. Barthes) in the 20th century we should define the features of a narra- as a general-theoretical discipline which tive as a common rhetorical modality (V. studies the communicative influence of Tyupa). various types of discourse. In this respect Resorting to rhetoric became one V. Tyupa's remark that "neo-rhetoric … of the distinctive features of literary stud- pretends to the role of the basic disci- ies in the 20th century. Russian formal- pline of methodological character for ists insist on the necessity to rehabilitate the whole complex of human sciences in this classical approach of examination either case dealing with various expres- of linguistic manipulation. M. Bakhtin sion texts" appears to be true28. considers reference to rhetoric as a sign By now M. Bakhtin, who exam- of helplessness of traditional poetics in ined the objective "conflict" between front of fiction. Indeed G.G. Shpet25 at- poetics and rhetoric, reasoned that as tributes the novel (along with other nar- opposed to classical rhetoric "meta-lin- rative literature) to purely rhetorical guistics" (new rhetoric) must examine forms; V.V. Vinogradov26 also refers the the rhetorical features not only of the problem of narrative literature to rheto- genres of declamatory speech but also of ric, though does not deny that a novel classical poetical genres29. It is evident has some poetry. 27 Bakhtin, M.M. (1975), Questions of This "inadequacy of all modern literature and aesthetics [Voprosy stylistics … to specific features of novel literatury i estetiki], Moscow, p. 82. 28 Tyupa, V.V. (2001), Narratology 25 Shpet, G.G. (1927), Inner form of the word as analytics of narrative discourse [Vnutrennyaya forma slova], Moscow, [Narratologiya kak analitika p. 214. povestvovatel'nogo diskursa], Tver', p. 6. 26 Vinogradov, V.V. (1930), On a literary 29 Bakhtin, M.M. (1996), Collected works prose [O khudozhestvennoi proze], [Sobranie sochinenii]: in 7 vol., Vol. 5, Moscow, Leningrad, pp. 75 – 106. Moscow, p. 159.

Нарратология как философия повествования 30 Контекст и рефлексия: философия о мире и человеке. 4`2012 that while studying the literary genres The two narrative modalities, as types of discourse distinct from rhe- performative and iterative, are chiefly torical and scientific but still having the noted for their auto-communicativeness. common nature with them, poetics is in- J. Lyotard characterizes performative evitably an integral part of general theory (from Latin performare – to generate, to of expression (new rhetoric)"30. create) like that: "its action on a refer- Narrative as a determinant attri- ent aligns with its expression"32. The ex- bute of the narrative literature (as well as amples of performative genres of speech other areas traditionally kept out of the are prayers, orders, appellations, swears, field of poetics studies, – legendaries, quarrels, instructions etc. It is not an ac- everyday speech etc.), must be evidently tion message but an immediate speech characterized rhetorically. It results from action which therefore does not refer to the marked communicative trend of a another significatum, except itself. narration. V. Tyupa suggests examining Iterative rhetorical modality a narrative as a general-rhetorical modal- (from the Latin word iteratio – repeti- ity, i.e. a certain type of discourse which tion), which fixes invariable, non-event- stands against frequentative and perfor- ful conditions is aimed at description mative types. of constant rules of natural and human V. Tyupa defines the narrative world. The examples of iterative modal- rhetorical modality as a "text-generating ity are the scientific, philosophical and configuration of the two ranges of event- mythological discourse. Like a narra- fulness: referent and communicative"31. tive they describe the world in accord This definition makes it possible to con- with the predetermined scheme; yet the sider not only verbal but also visualized necessity for legitimization (scientific objects (if they are capable of "text-gen- knowledge) or belief (in mythological) erating") as narrative ones. Two dimen- severely mines the positions of a repeti- sions of a narrative message distinguish tive discourse as a method of world de- it from other types of discourse. scription. It is a natural phenomenon that between the methods of world descrip- 30 Tyupa, V.V. (2001), Narratology tion there is a certain contest: according as analytics of narrative discourse [Narratologiya kak analitika 32 Lyotard, J. (1998), The Postmodern povestvovatel'nogo diskursa], Tver', p. 7. Condition [Sostoyanie postmoderna], 31 Ib., p. 8. Moscow, St. Petersburg, p. 31.

Сердечная Вера Владимировна Методика и методология 31 to Lyotard the scientific knowledge is in not momentary; it was a periodical ever- "a state of competition with the other sort lasting pre-action. The description of the of knowledge which we will qualify … world narrowed down to "repetition of as a narrative"33. archetypical situations, i.e. to categories, As distinct from the narrative a but not events"35 in such a manner was iterative modality in a general sense can not narrative, as a matter of fact "the nar- be described as description. And though rative succession is something integral as a variant of a discourse an iterative ex- and no repetitions are possible inside"36. pression assumes communicative expec- O.M. Freidenberg's conclusion tations, this function, in presentation of seems to be rather fair. She concludes everlasting processes and states, is rather that a narrative "having preserved the optional. In point of the fact a scientific entire former myth inventory", made it or mythological discourse are auto-com- "a character, a scenario, a plot, but not an municative as they just "make internal "objective" (extended) and "viewable" processes of some subject's mental activ- nature which is indissoluble from a hu- ity more external"34. man itself"37. The narrative description The subject of iterativeness de- of mythological world assumed not only gree of mythological knowledge may the definition of a narrator's position, seem to be disputable, since the mytho- but also separation of instances from the logical scenarios are the admitted mod- process of life and endowing them with els of plot construction. Nevertheless the the status of an event. According to Bar- myth researchers such as O.M. Freiden- berg, M. Eliade claim non-narrativeness 35 Eliade, M. (1998), The Myth of the Eternal Return [Mif o vechnom vozvrashchenii], of pre-declarative forms of a myth. Such St. Petersburg, p. 133. a claim looks more reasonable if we re- 36 Barthes, R. (1987), "Introduction to call the epistemic function of a primitive the structural analysis of narratives" ["Vvedenie v strukturnyi analiz myth: like modern scientific knowledge povestvovatel'nykh tekstov"], in Kosikov, it was aimed at description of the world G.K. Foreign aesthetics and literary and its rules. The action in a myth was theory XIX–XX cc. Tractates, articles, essays [Zarubezhnaya estetika i teoriya 33 Ib., p. 26. literatury XIX–XX vv. Traktaty, stat'i, 34 Tyupa, V.V. (2001), Narratology esse], Moscow, p. 422 as analytics of narrative discourse 37 Freidenberg, O.M. (1978), Myth and [Narratologiya kak analitika ancient literature [Mif i literatura povestvovatel'nogo diskursa], Tver',p. 9. drevnosti], Moscow, p. 227–228.

Нарратология как философия повествования 32 Контекст и рефлексия: философия о мире и человеке. 4`2012 thes the narrative form of experimental Overlapping of two ranges of description "made a mash on the princi- events is the most important feature of ple of repetition and sealed the model of a narrative. Each of the narratology con- becoming objective reality"38. cepts is a kind of mediator between these In such a manner, having escaped ranges. Thus a point of view, or focal- from the myth "on account of crystal- ization, is a method of consideration of lization of the personal experience"39, a a narration event depending on the posi- narrative (as an event of narration about tion of the subject of a narration; chrono- an event) found "a double eventfulness" logical order of narration is an example (M. Bakhtin), which became a distinc- of forming-up the eventful range in active feature of a narrative discourse in cordance with the narration objectives; a the Russian theory of narrativeness. genre became a historically formed productive aspect of combination of a typo- Double eventfulness of a logical eventful range and a typological narrative narrator. The event as a text and discursion One of the constitutive features formatting phenomenon most closely of a narrative is its structural duality. The corresponds to the subject of narrative plot construction assumes revelation of perception. At the same time it is rather eventfulness in the narration, while a difficult to define the constitutive features narrative discourse itself is presented as of eventfulness. Thus, G. Prince deter- a narration event. It specifies the claim of mines the event as "transition of a state, the double eventfulness of a narrative. detected in the discourse through proce- dural confirmation in the form (modal- 38 Barthes, R. (1987), "Introduction to 40 the structural analysis of narratives" ity) to Do or to Happen" . Such a defini- ["Vvedenie v strukturnyi analiz tion focused on formal matters is at one povestvovatel'nykh tekstov"], in Kosikov, G.K. Foreign aesthetics and literary time too wide (i.e. may fail to embrace theory XIX–XX cc. Tractates, articles, some sorts of events: for example, the essays [Zarubezhnaya estetika i teoriya prayer was heard or it changed as years literatury XIX–XX vv. Traktaty, stat'i, esse], Moscow, p. 422 went by), and too restricted (i.e. relates 39 Tyupa, V.V. (2001), Narratology as analytics of narrative discourse 40 Prince, G. (1988), A Dictionary of [Narratologiya kak analitika Narratology, University of Nebraska povestvovatel'nogo diskursa], Tver', p. 9. Press, p. 28.

Сердечная Вера Владимировна Методика и методология 33 to non-eventful transitions of a state: for exists"; an event amounts to "something example, the sun was risen or winter has more, namely, execution of the intended come). The same disadvantage is typical objective", "when the entire inside world for A. Danto's classic model, according in its entirety, in which's complex sphere to which the condition t-2 may be con- wends the action"43, becomes obvious. sidered as an event if the conditions t-1 While widening Hegel's defi- and t-3 cannot be identified41. nition, N.D. Tamarchenko regards an Therefore, in order to clear up the event as a "transition from one situation eventful status of narrativeness we need to another … in the result … of intrin- to consider the ontological status of the sic activity [of the character] (travelling, event itself, and not turn to it as to some new valuation of the world) or "activity" "pre-reflective evidence" (V. Tyupa). of circumstances (biological changes, It is beyond doubt that in an artis- antagonists' activity, natural or histori- tic narrative "even monotony, repetitions cal changes)"44. Though this definition and demonstrative lack of events are ar- confirms the eventfulness of accidental, tistically eventful"42, but this aspect is it does not determine the specificity of realized only in the narration event and eventful: thus both the travelling and nat- does not characterize the narration event ural changes may be lack of the eventful itself. In such a manner in order to deter- core and be just mechanical changes of mine the possible eventfulness of a fact circumstances. we need to define the phenomenon of The definition formulated by Lot- eventfulness as such. man is considered to be the most per- Hegel was among the first re- spective for identification of the bound- searchers who defined the event status aries of the eventfulness phenomenon: and differentiated it from incidents or "An event is thought to be something natural behavior. He thinks that an inci- that happened though it may not have dent is "any external change in the ap- 43 Hegel, G.W.F. (1971), Aesthetics pearance and occurrence of the thing that [Estetika]: in 4 vol., Vol.3., Moscow, p. 470 – 472. 41 Danto, A.C. (1965), Analytical Philosophy 44 Tamarchenko, N.D. (1999), "Event" of History, Cambridge, p. 236. ["Sobytie"], in Tamarchenko, N.D. 42 Tyupa, V.V. (2001), Narratology Literary studies terms (materials for a as analytics of narrative discourse dictionary) [Literaturovedcheskie terminy [Narratologiya kak analitika (materialy k slovaryu)], Vol. 2, Kolomna, povestvovatel'nogo diskursa], Tver', p. 21. p. 80.

Нарратология как философия повествования 34 Контекст и рефлексия: философия о мире и человеке. 4`2012 happened", "divergence", "violation of This aspect of eventfulness seems to some taboo", "and intercrossing of a pro- be of maximal significance as the sepa- hibitory border"45. Ricœur formulates the ration of the fact from continuality of definition in a like manner: "An event is the process of life and its endowment something that could have happened in a with the status of an event primarily de- different way"46. pends on cultural norms and perceptive This feature of eventfulness is consciousness; an event "immanently considered in detail by theorists of a nar- directed towards some potentially pos- rative who draws up lists of characteris- sible mentality, which can comprehend tics of eventfulness. Thus, Schmid, when it"48. determining an event as "some departure This specification of the concep- from legal, normative in this world, viola- tual aspect of eventfulness makes it pos- tion of one of the rules, which we should sible for Tyupa to fetch out the basic min- obey in order to preserve the order and imum of features for the event property arrangement of this world", endue it with (both referent and communicative): it is the following essential features: relevan- heterogeneous (discontinuous, fragmen- cy of change (essentiality, non-triviality), tary), chronotopical ("first of all there is accidentalness, consecutiveness (need occurrence of some factors in time and for consequences), inconvertibility, and in space"), intelligible. On the assump- non-recurrence47. tion of the denoted facts V. Tyupa defines While criticizing W. Schmid for an event as an "actual occurrence of fac- his maximalism (there may be no con- tors", and three of them are obligatory: sequences or the event may be predict- "actant factor of action, passient factor ed), V. Tyupa marks the main feature of rest (or reluctance) and mental factor of eventfulness – intelligibleness, real- of sense forming attesting … of which ization only in the subject's presence. the first two are tied with chronotopical similarity and the third is more or less 45 Lotman, Yu.M. (1970), Structure of a chronotopically distanced"49. literary text [Struktura khudozhestvennogo teksta], Moscow, p. 283 – 288. 48 Tyupa, V.V. (2001), Narratology 46 Ricœur, P. (2000), Time and narrative as analytics of narrative discourse [Vremya i rasskaz]: in 2 vol., Vol. 1, [Narratologiya kak analitika Moscow, St. Petersburg, p. 212. povestvovatel'nogo diskursa], Tver', 47 Schmid, W. (2003), Narratology [Narra- p. 23 – 24. tologiya], Moscow, p. 16 – 19. 49 Ib., p. 25 – 26.

Сердечная Вера Владимировна Методика и методология 35

One more primary property of ting the fact with eventfulness a narrative an event, mentioned by Tyupa as a mi- implicitly postulates its significance. It is nor attribute, is the fractality (from the just intelligibleness of an event makes it Latin word frangere – to break): "by dint possible to define it as a coexistence in of a narrative act any event can be ex- the world (Heidegger). panded to the nexus of micro-events or, Multidimensionality, fractality of to the contrary, be scaled down to a mac- an event is one of the features of a myth ro-event episode – up to the last hyper- transferred to the narrative discourse. It event"50. just provides deviation of a narrative from The given theory of events, while strict logic rules, and represent the sam- taking into account the central concep- ple of "creative conception" (Ricœur) of tual constituents of eventfulness, after all life instead. Fractality provides a means is not sufficiently detailed attribute list of for the fact to become an Event, notion- an event as a text-forming phenomenon; al not only for observing consciousness it does not give the precise value of the but for the whole universum of a literary word definition; there is no precise defi- text. Chronotopicity limits the interativ- nition of the borders of textual eventful- ity of mythological phenomena in an ar- ness. To our opinion the most efficient tistic narrative. definition for practical specification of Relevancy of a change is a formal the fact eventfulness can be the combi- characteristic of an event necessary for nation of characteristics mentioned by V. recognition of its status, but it can deter- Tyupa and W. Schmid: mine an event only with an allowance for 1) intelligibleness; other factors. "Border crossing" – per- 2) fractality; ception, morality, public opinion, prob- 3) relevancy of a change. ability etc. – necessarily includes such The intelligibleness of an event characteristics as non-recurrence and in- is a supposition for its extraction from convertibility. It is easy to determine that continuality of existence: thus, if nobody other eventful criteria mentioned by W. sees a miracle it won't bring any changes. Schmid (unpredictability, consecutivity) Yet separation of an event itself through comply with the first one. contemplating consciousness already is The examined characteristics al- a confirmation of its status: while allot- low us to conclude that an event as an 50 Ib., p. 27. axiologically defined change of state

Нарратология как философия повествования 36 Контекст и рефлексия: философия о мире и человеке. 4`2012 with conceptual creative multidimen- narration is a chronologically and di- sionality comes into being in a narra- mensionally defined chain of events, tive. "The specificity of a narrative dis- their consequential (and/or determined) course … lies in the fact that it allots a association. fact or some collection of facts with an The problem of artistic time and event status"51. space in narratology can be seen in a dif- The double eventfulness of a nar- ferent way if we take into consideration rative at the same time makes the subject the epistemological role of a narrative. matter of narratology multidimensional Examination of reconfiguration of time and clearly structural one. According to sequence in a literary text in narratology V.Tyupa, narratology, being today the only turns out to be examination of rules of functioning kind of structuralism, "enjoys adaptation of the continuum by human some mobility and at the same time has consciousness themselves. some attributes of a severe discipline"52. According to P. Ricœur the tem- It is these qualities make conditions for poral alignment is the main essential fea- narratology to become an integral branch ture of narrativeness: "the time becomes of analysis of an artistic discourse, which a human time inasmuch as it accumu- could combine with the subject matter lates through narrative method, and vice of literary studies and accurate linguistic versa a narration is significant inasmuch methods, being, in such a manner, the dis- as it outlines the features of temporal cipline of general philology. experience"53. In fact if a narrative rhetorical Chronological and topological modality is considered as a negotiation, alignment in a narrative "crossing the border" of interactive mythological constancy, then the conclusion As far as the plot exists in tem- that just in a narrative arises "a chrono- poral and dimensional development, a logical illusion" (R. Barthes), idea of time 51 Ib., p. 23. sequence, which is expressed through 52 Levchenko, Ya., Roginskaya, O. the linear rather than cycle sequence of "Narratology – c'estmoi?: Wolf Schmid events and conditions, is logical. and his Russian colleagues about approximate" ["Narratologiya – c'est moi?: Vol'f Shmid i ego rossiiskie kollegi 53 Ricœur, P. (2000), Time and narrative o blizkom"] , available at: www.russ.ru/ [Vremya i rasskaz]: in 2 vol., Vol. 1, krug/20030717_narrat.html Moscow, St. Petersburg, p. 13.

Сердечная Вера Владимировна Методика и методология 37

The description of temporal expe- In such a manner revelation of rience is closely related to the phenom- "temporal and spatial relations artistical- enon of eventfulness as a change of the ly assimilated in literature"56, or chrono- world, and that provides the ontological topes can help in realization of regulari- function of the plot – time formation. P. ties of time conception. Ricœur compares Aristotle's mythos (in- Presence of spatial aspect in terms terpreted as an intrigue) and Augustine's of chronotope more likely correlates time just on grounds of activity. Such a with description rather than narration: if feature of a narrative eventful succes- a narrative assimilates the events then a sion like determinacy is one of the pro- description assimilates objects, which is totypes of time sequence: "the narrative equivalent of narrative and descriptive time must be brought out of the narrative "meanings" of chronotopes57. logic"54. Descriptiveness, representation The temporal alignment of hu- of space, has its own diegetic functions. man experience turns out to be directly Genette points out the two main ones: determined by the features of narrative speech adornment (description of Achil- description of an experience. In such a les' shield in "Iliad") and explanatory manner the temporal structure of a nar- symbolical, in genre tradition of a novel, rative has a direct bearing on conception when "the description of characters' ap- of time by the culture. According to P. pearance, their clothes and household Ricœur "there is a correlation between furniture … are at the same time a sign, narration activity and temporality of hu- a cause and effect"58 of their psycho- man experience, which … represents the logical world. This division of descrip- form of trans-cultural necessity"55. tion functions seems to be not exactly

54 Barthes, R. (1987), "Introduction to reasoned, as the revelation of any given the structural analysis of narratives" psychological marks of descriptiveness ["Vvedenie v strukturnyi analiz povestvovatel'nykh tekstov"], in Kosikov, to a large extent depends on the position G.K. Foreign aesthetics and literary theory XIX–XX cc. Tractates, articles, essays [Zarubezhnaya estetika i teoriya 56 Bakhtin, M.M. (1975), Questions of literatury XIX–XX vv. Traktaty, stat'i, literature and aesthetics [Voprosy esse], Moscow, p. 402. literatury i estetiki], Moscow, p. 234. 55 Ricœur, P. (2000), Time and narrative 57 Ib., p . 398. [Vremya i rasskaz]: in 2 vol., Vol. 1, 58 Genette, G. (1998), Figures [Figury]: in 2 Moscow, St. Petersburg,. 65. vol., Vol. 1, Moscow, p. 290 – 291.

Нарратология как философия повествования 38 Контекст и рефлексия: философия о мире и человеке. 4`2012 of a reader (a critic), and significance is same time, as one of most important typical for descriptiveness in general. means of communication it enjoys one Nevertheless Genette's conclu- more important feature which motivates sion that description and narration are the cultural belonging of a narration as not as much different in the object or such. construction so that there is a need for If, according to Lotman, an event, "the division of this narrative-descriptive a central content of narration is a crossing unity which was identified as a narration of a prohibitive border, then this border by Plato and Aristotle"59 seems to be rea- is defined by culture wherein a narrative sonable. is created and which determine the pos- In such a manner association of sibility of eventfulness for a particular spatial and time characteristic of a fiction fact: "a relevant divergence … depends in the term of chronotope corresponds to on the conception of a norm"61. the fundamental characteristics of a nar- Rootedness of a narrative as a rative – chronological and topological type of perception in culture is expressed "ruling" of the world that forms the basis in the fact that it always executes evalua- of perception in general: "any entry to tion function (as distinct from repetitive the sphere of senses is carried out only knowledge). The narrative perception, through the gate of chronotopes"60. which renders customs and keeps up the traditions in culture, proves to be axiological as well; the traditional knowl- Communicative basis of edge rendered by a narrative is not just focalization and narrative a truth, but is "measured in accord with axiology criteria … fairness and/or good"; "the tradition of narratives at the same time is As a means of allotting the facts the tradition of criteria"62. with meanings of events, alignment of So far the plot structure of a nar- temporal and spatial field a narrative rative represents an implicit system of enjoys polycultural significance. At the 61 Lotman, Yu.M. (1970), Structure of a literary text [Struktura khudozhestvennogo 59 Ib., p. 292. teksta], Moscow, p. 283. 60 Bakhtin, M.M. (1975), Questions of 62 Lyotard, J. (1998), The Postmodern literature and aesthetics [Voprosy Condition [Sostoyanie postmoderna], literatury i estetiki], Moscow, p. 406. Moscow, St. Petersburg, p. 52, 58.

Сердечная Вера Владимировна Методика и методология 39 values and expectations: as a rule, a pro- Conclusion. Narrative as a tagonist in a classical narrative carries means of world perception good-hearted values and must, when dif- ficulties are overcome, attain success (in When summarizing the descrip- all challenges). tion of a narrative as type of perception This estimation at the level of one may conclude that the main episte- separate narratives is expressed in the mologically significant features are the point of view selected by a narrator. double eventfulness (determined by the As early as in the selection itself and in communicative trend of a narrative), the positioning of narration objects lies chronological and topological alignment, a certain value system: "when dividing as well as availability and postulation of the eventful dynamics into episodes and the system of values, axiologism. Be- binding them into a narrative chain, a ing a carrier and a keeper of "traditional narrator discovers some axiological hori- knowledge"65, a narrative represents a kind zon"63. of perception matrix which is differently Focalization (from Latin word fo- realized in concrete texts, but is always cus – fireplace, fire) represents not only communicatively active and exposed to the axiological but the communicative readers' perception. Narratives "represent determination of a narrative as well; a the forms inherent in our ways of getting narrator's position with respect to space, knowledge, which structures our percep- time, and language of the story is directed tion of the world and ourselves"66. towards readers' perception. It is just by The peculiarity of epistemologi- virtue of focalization as "the adjustment cal functionality of narrativeness is de- of narrative information", "one or anoth- termined by the fact that "a narrative in er perspective"64 a narrative becomes a a certain degree is an open and flexible communicative event. structure, which makes it possible to

65 Lyotard, J. (1998), The Postmodern 63 Tyupa, V.V. (2001), Narratology Condition [Sostoyanie postmoderna], as analytics of narrative discourse Moscow, St. Petersburg, p. 54. [Narratologiya kak analitika 66 Brockmeier, J., Harre, R. (2000), povestvovatel'nogo diskursa], Tver', "Narrative: Problems and promises of p. 47 – 48. an alternative paradigm" ["Narrativ: 64 Genette, G. (1998), Figures problemy i obeshchaniya odnoi [Figury]: in 2 vol., Vol. 2., Moscow, al'ternativy"], Voprosy filosofii, No 3, p. 180 – 181. p. 36.

Нарратология как философия повествования 40 Контекст и рефлексия: философия о мире и человеке. 4`2012 examine sufficiently such fundamental historian's language [Narrativnaya aspects of human experience as patency logika. Semanticheskii analiz yazyka and flexibility"67. istorikov], Moscow, 360 p. Clarification of characteristics of 2. Bakhtin, M.M. (1996), Collected a narrative as a meta-cultural method of works [Sobranie sochinenii]: in 7 perception makes it possible to funda- vol., Vol. 5, Moscow, 732 p. mentally complement the description of 3. Bakhtin, M.M. (1975), Questions of the structure of narrative works of fiction. literature and aesthetics [Voprosy lit- Each of them represents its own structure eratury i estetiki], Moscow, 504 p. of eventfulness, lines up its own topol- 4. Barthes, R. (1987), "Introduction ogy and chronology, system of values. It to the structural analysis of narra- renders possible to name the field of nar- tives" ["Vvedenie v strukturnyi analiz ration "an artistic world", which is per- povestvovatel'nykh tekstov"], in Ko- ceived by a reader. We may conclude that sikov, G.K. Foreign aesthetics and lit- success and novelty of a narrative work erary theory XIX–XX cc. Tractates, ar- lies not so much in the novelty of a event- ticles, essays [Zarubezhnaya estetika i ful range (as a narrative structure consol- teoriya literatury XIX–XX vv. Traktaty, idated, and that results in repetition of the stat'i, esse], Moscow, pp. 387-422. plots), as in finding a new point of view, 5. Bremond, C. (2000) "Structural ex- creation of a new artistic world. amination of narratives after V. The given feature of a narrative Propp" ["Strukturnoe izuchenie reveals the ability of literature, the art of povestvovatel'nykh tekstov posle V. narration, like no other branch of human Proppa"], in Kosikov, G.K. French activity, to "break through the horizon in- semiotics: From structuralism to post- serted in our everyday life by habits, ev- structuralism [Frantsuzskaya semi- erydayness, ignorance and weariness"68. otika: Ot strukturalizma k poststrukturalizmu], Moscow, pp. 239-246. References 6. Brockmeier, J., Harre, R. (2000), "Narrative: Problems and promises 1. Ankersmit, F.R. (2003) Narrative of an alternative paradigm" ["Narra- logic: a semantic analysis of the tiv: problemy i obeshchaniya odnoi 67 Ib., p. 39. al'ternativy"], Voprosy filosofii, No 3, 68 Ib., p. 41. pp. 29-42.

Сердечная Вера Владимировна Методика и методология 41

7. Danto, A.C. (1965), Analytical Philos- 17. Prince, G. (1988), A Dictionary of ophy of History, Cambridge, 318 p. Narratology, University of Nebraska 8. Eliade, M. (1998), The Myth of the Press, 126 p. Eternal Return [Mif o vechnom voz- 18. Ricœur, P. (2000), Time and narra- vrashchenii], St. Petersburg, 258 p. tive [Vremya i rasskaz]: in 2 vol., Vol. 9. Freidenberg, O.M. (1978), Myth and 1, Moscow, St. Petersburg, 314 p. ancient literature [Mif i literatura 19. Ricœur, P. (2000), Time and narra- drevnosti], Moscow, 605 p. tive [Vremya i rasskaz]: in 2 vol., Vol. 10. Genette, G. (1998), Figures [Figury]: 2, Moscow, St. Petersburg, 216 p. in 2 vol., Vol. 1, Moscow, 472 p. 20. Schmid, W. (2003), Narratology 11. Genette, G. (1998), Figures [Figury]: [Narratologiya], Moscow, 312 p. in 2 vol., Vol. 2., Moscow, 472 p. 21. Shpet, G.G. (1927), Inner form of the 12. Hegel, G.W.F. (1971), Aesthetics [Este- word [Vnutrennyaya forma slova], tika]: in 4 vol., Vol.3., Moscow, 624 p. Moscow, 214 p. 13. Levchenko, Ya., Roginskaya, O. "Nar- 22. Tamarchenko, N.D. (1999), "Event" ratology – c'estmoi?: Wolf Schmid and ["Sobytie"], in Tamarchenko, N.D. his Russian colleagues about approxi- Literary studies terms (materials for mate" ["Narratologiya – c'est moi?: a dictionary) [Literaturovedcheskie Vol'f Shmid i ego rossiiskie kollegi o terminy (materialy k slovaryu)], blizkom"] , available at: www.russ.ru/ Vol. 2, Kolomna, pp. 79-81. krug/20030717_narrat.html 23. Tyupa, V.V. (2001), Narratology as 14. Lotman, Yu.M. (1970), Structure of analytics of narrative discourse [Nar- a literary text [Struktura khudozhest- ratologiya kak analitika povestvo va vennogo teksta], Moscow, 384 p. tel'nogo diskursa], Tver', 58 p. 15. Lyotard, J. (1998), The Postmodern 24. Vinogradov, V.V. (1930), On a lit- Condition [Sostoyanie postmoderna], erary prose [O khudozhestvennoi Moscow, St. Petersburg, 160 p. proze], Moscow, Leningrad, 186 p. 16. Markovich, V.M. (2004), "Narratology 25. Zenkin, S. (1998), "Overpassed dizzi- as a general human science. Interview ness: G. Genette and the fate of structura- with V.M. Markovich" ["Narratologi- lism" ["Proe o do len noe golo vo kru zhe ya kak obshchegumanitarnaya nauka. nie: Zherar Zhenet i sud'ba struktura Interv'yu s V.M. Markovichem"], Mir lizma"], in Genette G. Figures [Figu russkogo slova, No 1, pp. 59-60. ry]: in 2 vol., Vol. 1, Moscow, pp. 9-38.

Нарратология как философия повествования 42 Контекст и рефлексия: философия о мире и человеке. 4`2012

Нарратология как философия повествования

Сердечная Вера Владимировна Кандидат филологических наук, научный редактор ООО «Аналитика Родис», 142400, Россия, Московская обл., Ногинск, ул. Рогожская, 7; e-mail: [email protected]

Аннотация Статья посвящена феномену нарратологии как одного из важных научных направлений современности, имеющего междисциплинарный характер. Нарратология, обозначив одну из сторон антропологического поворота в философии XX века, имеет родство с семиотикой, литературоведением, ми- фокритикой, лингвистикой. Автор считает, что нарратология как общеэсте- тическая дисциплина призвана выяснять отношения между событийными рядами рассказываемого и рассказывания, исследовать не только природу явления, но и его коммуникативные характеристики. Главной концепцией нарратологии как отрасли философского знания стало утверждение нар- ратива как прообраза гносеологической матрицы. Современное состояние нарратологии позволяет говорить о становлении науки, которая отличитель- ной чертой своего объекта познания считает наличие двух событийных ря- дов – референтного и дискурсивного. Автор рассматривает историю науки, выделяет периоды литературоведческого и общегуманитарного понимания и восприятия нарратологии как методологии анализа. Автор рассматривает нарратив в контексте риторического подхода, в отношении к событийности, к хронотопическому выстраиванию, к фокализации.

Ключевые слова Нарратив, нарративный поворот, повествование, событие, двоякая событий- ность, сюжет, структурализм, аксиология, риторическая модальность, хро- нотоп, диегезис, фокализация.

Сердечная Вера Владимировна