Genette's Narratology versus Cognitive one in Amy Tan's The Hundred Secret Senses?
Tahmineh Kord Gharachorlou
1
(
Department of Foreign Languages, ST. C. Islamic Azad University, Tehran, Iran
)
Ahmad Sedighi
2
(
Department of Foreign Languages, Allameh Tabatabaei University, Tehran, Iran
)
Roya Yaghoubi
3
(
Department of Foreign Languages, ST. C. Islamic Azad University, Tehran, Iran
)
Keywords: Cognition, Emotion, Narratology, Plot, State of mind.,
Abstract :
Gerard Genette believes that the plot of a story as an arranged form of actual events discovers the structure of a text. He knows the plot as a discourse of a story. His theory contains tense, mood, and voice as fundamental concepts that add to the fabula. Tense is the internal time of fiction that deviates from the external world. Mood depends on the perspective the narrator uses. Voice relies on the narrator of the story. In a first-person narrative, the narrator reports stories within stories from the past and present to control the events, dominate the characters, and create meaning. However, cognitive narratologists disagree and say that considering the plot of a story is essential but is not enough to determine its meaning. They say the character's mentality, the text, and the reader are also significant that structuralists discard. The cognitive narratologists remark structures cannot tell the reader about literature. The meaning of fiction is created in the character's or reader's mind through the medium of text. The researcher shows this story's structure cannot determine Olivia's emotions as the main character-narrator. The reader should think about Olivia's psychological situation to apprehend the meaning of the whole fiction.
Bal, Mieke. Narratology: Introduction to the Theory of Narrative. Toronto, London. U
Toronto Press, 2009.
………., "Narration and Focalization." Narrative Theory, Critical Concepts in Literary
and Cultural Studies. Edited by Mieke Bal, (263-297). Volume I. Major Issues in
Narrative Theory. London and New York. Routledge, 2004.
Brooks, Peter. Reading for the Plot: Design and Intention in Narrative. Cambridge,
Mass.: Harvard University Press, 1992.
Caracciolo, Marco. "Experientiality." In Handbook of Narratology. Edited by Peter
Hühn, Jan Christoph Meister, John Pier, Wolf Schmid. Berlin, Boston: De Gruyter,
2014. (pp. 149-159). Pdf.
Chatman, Seymour. Story and Discourse, Narrative Structure in Fiction and Film. New
York: Cornell U, 1978.
Culler, Johnathan. "Story and Discourse in the Analysis of Narrative." The Narrative Reader
(104-109). Ed Martin Mcquillan. London & New York: Routledge, 2000.
Crane, R. S. "The Concept of Plot and the Plot of Tom Jones." in critics and criticism,
Ed. R. S. Crane. Chicago: University of Chicago Press, 1952. Pdf.
Fludernik, Monika. An Introduction to Narratology. Translator: Patricia Häusler-
Greenfield and Monika Fludernik. Canada: Routledge 2009. Pdf.
Fouconnier, Gilles. Mental Spaces: Aspect of meaning Construction in Natural
Languages. Cambridge: Cambridge University Press, (1994). Pdf
Genette, Gerard. Narrative Discourse, An Essay in Method. Translated by Jane E. Lewis.
Ithaca, New York: Cornell U Press, 1983.
…, Fiction and Diction. Translator: Catherine Porter. Ithaca, London:
Cornell U Press. 1991. Pdf.
…, Figures of Literary Discourse. Translated by Alan Sheridan. New York: Columbia
University, 1972. Pdf.
Gibson, Andrew. Towards a Postmodern Theory of Narrative. Edinburgh: Edinburgh
University Press, 1996.
Handbook of Narratology. Edited by Peter Hühn, Jan Christoph Meister, John Pier,
Wolf Schmid. Berlin, Boston: De Gruyter, 2014. Pdf.
Herman, David. The Cambridge companion to Narrative. Cambridge, New
York, Melbourne: Cambridge U Press, 2007. Pdf.
Hogan, P. C. Affective Narratology: The Emotional Structure of Stories. Lincoln. NE:
University of Nebraska Press, 2011. Pdf.
Jannidis, Fotis. "Character," in Handbook of Narratology. Edited by Peter Hühn, Jan
Christoph Meister, John Pier, Wolf Schmid. Berlin, Boston: De Gruyter, 2014. (pp
30-46.) Pdf.
Jahn, Manfred. Narratology, A Guide to the Theory of Narrative. Bonn: Cologne University,
2005. Pdf.
Kant, Immanuel. Critique of Pure Reason. Trans, Werner S. Pluhar. Indianapolis,
Indiana: Hackett Publishing Company, 1996. Pdf.
Keen, Suzanne. Narrative Form. Washington, Lee U: Palgrave McMillan, 2003. Pdf.
Lee, Robert, A. China Fictions/English Language, Literary Essays in Diaspora,
Memory, Story. Amsterdam & New York: Rodopi, 2008. Pdf.
Kermode, Frank. "Sensing Endings." Nineteenth Century Fiction. Vol. 33. No 1. (pp
144-158). University of California press. 1978. Pdf.
Martin, Wallace. Recent Theories of Narrative. Ithaca & London. Cornell University,
1986. Pdf.
Neelima, V. Dual consciousness: Dilution of Dissent in Mother-Daughter relationship in the
Selected works of Amy Tan. New York, Mercy College, Palakkad, 2018.
Palmer, Alan. Fictional Minds. Lincoln: University of Nebraska Press, 2004.
Phelan, James. "Narrative Dynamics." Routledge encyclopedia of narrative theory (pp. 350-
363) New York: Routledge, 2005. Pdf.
Punday, Daniel. Narrative After Deconstruction. Albany: State University of New York
Press, 2003. Pdf.
Rabinowitz, Peter J. "They Shoot Tigers, Don’t They? Path and Counterpoint in The
Long Goodbye," in A Companion to Narrative Theory. Ed, James Phelan and Peter
J. Rabinowtiz. Malden: Blackwell, 2005. (181-192). Pdf.
Rimmon Kenon, Shlomith. Narrative Fiction, Contemporary Poetics. London and New
York, Routledge- Taylor & Francis Group, 2005. Pdf.
Sheng, Mei Ma. "'Chinese and Dogs' in Amy Tan’s The Hundred Secret Senses: Ethnicizing
the Primitive à la New Age." Modern Critical Views, Amy Tan. Ed. Harold Bloom.
New York: InfoBase Publishing, (155-169), 2009.
Tan, Amy. The Hundred Secret Senses. London: Harper Perennial, 1995.
Walsh, Richard. "Dreaming and Narration." In Handbook of Narratology. Edited by
Peter Hühn, Jan Christoph Meister, John Pier, Wolf Schmid. Berlin, Boston: De
Gruyter, 2014. (pp. 138-149). Pdf.
Zunshine, Lisa. Why we Read Fiction: Theory of Mind and the Novel. Columbus: Ohio
State University Press, 2006.