Social Minds in Drama. Golnaz Shams

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СКАЧАТЬ target="_blank" rel="nofollow" href="#ulink_c8b57631-f975-51f8-90ab-534f5aca22d8">15 Marie-Laure Ryan further compares the two approaches with the syntax, semantics, and pragmatics categorisation of grammarians and further states that if we regard narrative as a discourse that conveys a story, as a mental representation it should not be tied to any particular medium. (2007: 27).

16 “In contrast to his formalist predecessors and structuralist colleagues, Genette had no intention of designing a fully coherent and self-contained theory of narrative. This sparked fundamental narratological controversies over Genettian concepts such as “focalization” (Bal 1997; Jahn 1996, 1999) and set the stage for numerous debates that were to result in postclassical narratology. Some of this criticism was addressed in Genette ([1983] 1988)” (Meister 2015).

17 See Miller (2005).

18 See Booth (1983 and 2005).

19 See Nünning (2005).

20 Eder (2003),Kindt/Müller (2003), Fludernik (2005), Herman (2005), Mildorf (2010), Jaén and Simon (2012).

21 See Gerard Genette (1980), Porter Abbott (2008), Lisa Zunshine (2010c), and Gerald Prince (1987) to mention a few.

22 See Mandler (1984) and Herman (2002).

23 See Schank and Abelson (1977).

24 See Alber (2009).

25 See Emmott (1997) and Jahn (1997).

26 See van Peer and Chatman (2001), and Dancygier (2011).

27 See Eder (2003).

28 See Bortolussi and Dixon (2003).

29 See Cohn (1978), Eder (2003), and Fludernik (2003).

30 A more detailed account on character and characterisation in narratology will be provided in the next chapter.

31 Fludernik (1996).

32 For a detailed account of Herman’s arguments about the basic elements of narrative and the concept of qualia see Herman (2009).

33 This is a summary of Palmer’s ideas. For a detailed reading see: Palmer (2002, 2003, 2004, 2005, 2007, 2010a, 2010b, and 2010c).

34 The two concepts of “thought” and “mind” are very closely related in Palmer’s theory and thus often used interchangeably.

35 See Palmer’s essay in Style (2011, 45:2).

36 See Ryan (1991). Here Ryan states that according to the principle of minimal departure fictional entities are ontologically the same as real objects. Alterations are allowed when the narrative text specifically mandates a change.

37 There are a few exceptions within the genre of drama, such as plays where we have an explicit narrator figure who tells the story in form of a frame narrative as in Thornton Wilder’s Our Town, memory plays, and some of the epic plays. Also see Nünning and Sommer (2008) and Fludernik (2008).

38 For a more thorough discussion on ToM see Zunshine (2007, 2011, 2010a, 2010b), and Oatley (2011).

39 See Margolin (1987, 1989, and 1990a).

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