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Andrea Camilleri and the Crime Fiction Genre

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Andrea Camilleri and the Crime Fiction Genre Durham E-Theses The Spatial Dimension of Narrative Understanding. Exploring Plot Types in the Narratives of Alessandro Baricco, Andrea Camilleri and Italo Calvino BELTRAMI, MARZIA How to cite: BELTRAMI, MARZIA (2017) The Spatial Dimension of Narrative Understanding. Exploring Plot Types in the Narratives of Alessandro Baricco, Andrea Camilleri and Italo Calvino, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/12247/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 The Spatial Dimension of Narrative Understanding Exploring Plot Types in the Narratives of Alessandro Baricco, Andrea Camilleri and Italo Calvino Marzia Beltrami Submitted in accordance with the requirements for the degree of PhD University of Durham School of Modern Languages and Cultures March 2017 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. Contents Abstract ................................................................................................................................................................ iv Acknowledgements ............................................................................................................................................. v Abbreviations ...................................................................................................................................................... vi Introduction .......................................................................................................................................................... 1 Research rationale ....................................................................................................................................... 1 Research questions and original contribution ....................................................................................... 2 Thesis overview............................................................................................................................................ 6 Chapter One Research Design ....................................................................................................................... 9 1.1. Methodological approach ................................................................................................................... 9 1.1.1. A combined method for a framework in the making ....................................................... 9 1.1.2. A genre as case study ............................................................................................................. 11 1.1.3. Who is the reader? ................................................................................................................. 12 1.2. Cognitive narratology and cognitive literary criticism: a diversified theoretical framework ........................................................................................................................................................................12 1.2.1. A non-propositional view of thought: mental models and storyworlds .................... 13 1.2.2. The embodied mind................................................................................................................ 15 1.2.3. The enactivist framework ..................................................................................................... 17 1.3. Plot as structuring design .................................................................................................................19 1.3.1. A fundamental ambiguity: minimal versus maximal definitions of plot ....................... 20 1.3.2. Modal re-structuring and plot as process ......................................................................... 22 Chapter Two Plot as Map: Alessandro Baricco’s City (or, Nothing to Do with the Metropolis) .. 27 2.1. A productive shift of perspective ...................................................................................................30 2.1.1. The city as theme: the postmodern metropolis .............................................................. 30 2.1.2. The city as cognitive metaphor: a map for the reader .................................................. 33 2.2. Contextual frame theory ................................................................................................................. 36 2.2.1. Introducing contextual frames ............................................................................................. 36 2.2.2. The Prologue: a description of the contextual-frame shifts ......................................... 40 2.2.3. Moving through the plot ....................................................................................................... 44 2.3. Enhancing the spatiality of plot through scripts ......................................................................... 49 2.3.1. How the barbarians think ..................................................................................................... 50 2.3.2. Scripts as means to create energy ...................................................................................... 53 2.3.3. Uses of scripts in City ............................................................................................................. 57 2.4. Do you have it in mind? ................................................................................................................... 64 2.4.1. Scenario-mapping and focus account and modes of presence .................................... 65 2.4.2. Further spatial conceptualisations in City .......................................................................... 70 Chapter Three Plot as Trajectory: Andrea Camilleri and the Crime Fiction Genre ....................... 76 3.1. Spatiality cornered ............................................................................................................................ 80 3.1.1. At the convergence of geography and literature: the privileged position of crime fiction .................................................................................................................................................... 80 3.1.2. Spatiality: a metamorphic interest ...................................................................................... 82 3.2. Possible worlds: a modally articulated narrative structure ..................................................... 87 3.2.1. Crime fiction as epistemological genre ............................................................................. 87 3.2.2. Possible-worlds theory: reality vs. fiction ......................................................................... 88 3.2.3. Articulating virtuality: the private worlds of characters ................................................ 90 3.3. The dynamics of the investigation ................................................................................................. 94 3.3.1. Counterfactuality .................................................................................................................... 95 3.3.2. The ‘disnarrated’ ..................................................................................................................... 99 3.3.3. Detection as wayfinding ...................................................................................................... 102 3.3.4. Manipulation of counterfactuals: points of divergence ................................................ 104 3.4. The multiple spaces of narrative understanding ...................................................................... 108 3.4.1. Spatialising time ..................................................................................................................... 108 ii 3.4.2. Dreams, literature, ‘tiatro’, and minor investigations.................................................. 110 3.4.3. Three spaces ......................................................................................................................... 115 3.4.4. Plot as trajectory .................................................................................................................. 119 Chapter Four Plot as Fractal: Italo Calvino’s Se una notte d’inverno un viaggiatore .......................... 124 4.1. Order as an expression of spatiality ........................................................................................... 128 4.1.1. Patterns of order and disorder ......................................................................................... 128 4.1.2. Geometric conceptualisations and the folktale ............................................................ 134 4.1.3.
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