When characters in narrative fiction engage in direct speech, we read via a narrator’s quotation the perspectives, thoughts, and interpretations of those characters on events (past, ongoing, and prospective) in the storyworld in which they operate. And when they don’t speak? We might have difficulty reading them.
‘Prototypically, narrative involves not only a temporal sequence into which events are slotted in a particular way, and not only a dynamic of canonicity and breach; more than this, stories represent – and perhaps make it possible to experience – what it is like to undergo events within a storyworld-in-flux.’
Some thoughts on the ordering of information in the Argonautica’s Lemnian episode and how reordering might affect a reader’s experience and interpretation of the narrative.
Not everything in a narrative helps the reader’s transportation into a storyworld. Sometimes a narrator reminds us that we’re not actually there at all. A preliminary exploration of temporal deviations and how they can affect our immersion.
Some thoughts on narrative duration using examples from Greek Epic: Gods, Archers and Stretching Time.
A look at some indeterminacies in the Argonautica’s proem with the help of Stanzel, Iser and Sternberg. Complementary stories, reader-construction and narrative interest!
An outline of a reader-oriented theory of the novel. Narratives have gaps, narratives are selective, narratives are sketches of a world. What is a reader to do with the indeterminacies? Fill them in!