Literary Studies Obono Translated
Literary Studies Obono Translated
Literary Studies Obono Translated
On another level, conflict has undoubtedly had an influence on the novel. These
may have taken very different forms.
First and foremost, conflicts have increased the importance of the written word and of
the value of writers. In the 16th and 17th centuries, for example, religious
struggles and clashes between royalty and the great powers opened up a space for
writing in the form of direct polemics (pamphlets) or indirect polemics.
In the twentieth century, the question of commitment will be one of the most debated in
various ways. In the face of social, political and national conflicts,
can and should the novelist commit himself, asserting his power over society
but at the risk of submitting to external imperatives, or does it have to wage a
struggle within the artistic space, carrying out essentially formal revolutions?
The character in a novel is a fictional, imaginary being. However, as with a person, we can identify his or
her identity, name, age, sex and social origin. Information is given in the form of portraits throughout
the story. The character is also a person put into action in a dramatic work, according to the legends
from which the theater originated. In this sense, he implies both men and women.
THE SPEECH:
Speech
Discourse is when the author, or the instance of enunciation (the
When we perceive a story's intentions and bias, we feel it. Whenever the story
proposes a meaning in addition to the narrative one, it's a matter of discourse: a
symbolic, aesthetic, poetic, parabolic, philosophical, moralist meaning, for
example. It's the narrator.
The diegesis refers to the universe in which the story takes place.
Grema, for his part, reduces actions to 6 functions (sender, receiver, subject, object, opening adjuncts,
opponents).
According to them, every story is based on the following structure, known as the canonical scheme and
the quinary scheme.
STORY STRUCTURE :
Some theorists believe that a sequence exists as soon as there is a unity of time,
place, characters or other actions.
THE NARRATOR
Author: the person who exists or has existed in flesh and blood in the world.
-narrator: the person who seems to be telling the story inside the book, but exists
only in words in the text. In a way, he's an internal enunciator.
-Reader/narrator: real or potential readers are beings existing in our world. The
narrator is the person whom the narrator addresses explicitly or implicitly in the
world of the story.
-fiction/referent: narratological analysis distinguishes :
*
Fiction: the image of the world constructed and produced by the text. It does not
exist outside the text. It is therefore a specifically textual creation.
*The referent: this is the real world, the story that outside the text.
First-person narrative: the character in the story is the same as the narrator. Here,
the narrator is a character in the story being told. In other words, he is both
narrator and actor. The narrator is homodiegetic. If the narrator is the main
character in the story, we speak of an autodiegetic narrator.
In this type of story, we're in a discourse. It is a discourse
with first and second person pronouns (I, you, we, you, our, your, me, you )
Narration time
In relation to the diegesis, when does the narrated act take place? What is the
narrator's temporal position in relation to what he is narrating? Depending on the
act being narrated, there may be four (4) temporal positions.
IV.1. Anterior narration
Anterior narration: This is a rarer form of narration, and essentially concerns textual passages. Predictive in
nature, often in the form of dreams or prophecies, it anticipates what will happen next. The narrator tells
what is supposed to happen in the future of the story. The tense used is normally the future, but it often
takes the form of a vision expressed in the present tense.
For example, Revelation 4/ 1 and 2 The predictive narrative exists only as a fragment within a narrative.
Subsequent narration
This is the most frequent case in the creation of novels. It is
generally identified by the use of past tense in the narrative.
However, in some later narratives, the use of the
narrative present tense for stylistic effect. Its use gives the impression that
the event is reported as it happens. Example:
"When everything was sold, twelve francs and seventy-five centimes were left over.
were used to pay for Mlle Bovary's trip to visit her grandmother. The good
woman died that same year; Father Rouault being paralyzed, it was an aunt
who took charge." Flaubert, Madame Bovary, III, P.11
Subsequent narration
This is the most frequent case in the creation of novels. It is
generally identified by the use of past tense in the narrative.
However, in some later narratives, the use of the
narrative present tense for stylistic effect. Its use gives the impression that the event is being
recounted as it unfolds.
Example:
"When everything was sold, twelve francs and seventy-five centimes were left over.
were used to pay for Mlle Bovary's trip to visit her grandmother. The good
woman died that same year; Father Rouault being paralyzed, it was an aunt
who took charge." Flaubert, Madame Bovary, III, P.11
NARRATIVE MODE
To delimit the contours and domains of what he calls mode, Gérard GENETTE
starts from the definition given by the Dictionnaire Littré of this term as a verbal
category: "mode is the name given to the different forms of the verb used to
designate more or less the thing in question, and to express the different points of
view from which the existence or action is considered".
When applied to literature, mode can be considered as that which is
the regulation of narrative information. In fact, the narrative may provide the
reader with more or less detail, and in a more or less direct way, thus appearing to
stand at a greater or lesser distance from what it is telling. The study of mode is
divided into two parts: distance and focus.
IV.1 - DISTANCE
Under this term, GENETTE attempts, following Plato, to develop a theory of
the difference between mimesis and diegesis. Distance is, in fact, a
an old question addressed by Plato in the 4th century in Republic III. In his study
devoted solely to the telling of words, Plato distinguishes two ways of telling,
two narrative modes:
-Narrative discourse
In this case of discourse, the words are integrated into the narrative and 19
at the same level as other events. Examples:
He chased him away
He confided in his friend that his mother had died.
Examples:
I don't think I should have gone.
He confided in his friend, telling him that his mother had died.
TEMPORALITY
Time is one of the so-called "fundamental categories" of the
novel text. Like space, it enables us to organize our perceptions into a
representation of the world. Just as we can't imagine a novel text without a
narrator, without spatial indications, etc., so we can't imagine a novel that escapes
all temporal order. In a novel, there's always a sequence of events from beginning
to end.
TIME TYPES
The creation of novels requires us to consider two types of time: external and
internal.
1 - External times
The time external to the work is the time of the novelist's life, on the one hand,
and that of the reader, on the other, as well as the "historical" period covered
by the novel.
artory of the novel, i.e. the period during which the action is supposed to have taken place.