Handbook of Narrative Analysis (Frontiers of Narrative) by Luc Herman;Bart Vervaeck

By Luc Herman;Bart Vervaeck

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27 Just like the narrator, the narratee can be either dramatized or undramatized. In an epistolary novel, the addressee of a letter often acts as a character in the narrative, but that is not really necessary. The undramatized narratee may stand either close to the mock reader or far removed from it. ” This letter, which starts with “Dear Pinocchio,” has an obvious narratee, but he never appears in the story and in that sense remains absent from it. 28 A good understand[21], (11) ing of the narratee therefore also requires a clear distinction between visibility and presence.

That leaves us with two scales, the one related to person, which distinguishes between I and he, and the one for [37], (27) mode, which distinguishes between narrator and reflector. Cohn holds that a teller-character shows through as soon as you see the difference between the speaking agent and the character who is the subject of his Lines: 674 to 704 speech – or, to put it in her terms, when there is dissonance. 03198pt Pg so absorbed in the thoughts and feelings of the character that the two ——— figures seem to coincide.

Where does the experiencing I start and where does the narrating I end? Usually a space of time separates the two figures, and a typical autobiography, where the older and wiser I tackles his younger and more naive self, can serve as a good example. 0pt PgVar ——— Normal Page PgEnds: TEX [27], (17) Before and Surrounding Structuralism First-person consciousness representation Self-narration would take a different course” prove that there is a clear distinction between the narrating I of the present and the experiencing I of the past.

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