In Narrative Discourse Revisited Genette both answers critics of the earlier work and provides a better-defined, richer, and more systematic view of narrative form and functioning. This book not only clarifies some of the more complex issues in the study of narrative but also provides a vivid tableau of the development of narratology over the decade between the two works.
Genette uses Proust's Remembrance of Things Past as a work to identify and name the basic constituents and techniques of narrative. Genette illustrates the examples by referring to other literary works. His systemic theory of narrative deals with the structure of fiction, including fictional devices that go unnoticed and whose implications fulfill the Western narrative tradition.
Revised papers originally presented at the "International Conference on Narrative Revisited: Telling a Story in the Age of New Media," held in July 2007, and sponsored by the Department of English Linguistics at the University of Augsburg, in honor of WolframBublitz .
"Genette's erudite and witty book challenges radical historicism in literary studies. . . . A marvel of precision and argumentative rigour."--Thomas Pavel, Princeton University
A palimpsest is "a written document, usually on vellum or parchment, that has been written upon several times, often with remnants of erased writing still visible". Originally published in France in 1982, Gerard Genette's PALIMPSESTS examines the manifold relationships a text may have with prior texts on the same document.
What art is--its very nature--is the subject of this book by one of the most distinguished continental theorists writing today. Informed by the aesthetics of Nelson Goodman and referring to a wide range of cultures, contexts, and media, The Work of Art seeks to discover, explain, and define how art exists and how it works. To this end, Gérard Genette explores the distinction between a work of art's immanence--its physical presence--and transcendence--the experience it induces. That experience may go far beyond the object itself.Genette situates art within the broad realm of human practices, extending from the fine arts of music, painting, sculpture, and literature to humbler but no less fertile fields such as haute couture and the culinary arts. His discussion touches on a rich array of examples and is bolstered by an extensive knowledge of the technology involved in producing and disseminating a work of art, regardless of whether that dissemination is by performance, reproduction, printing, or recording. Moving beyond examples, Genette proposes schemata for thinking about the different manifestations of a work of art. He also addresses the question of the artwork's duration and mutability.
Three women, all philosophers, all of Jewish descent, provide a human face for a decade of crisis in this powerful and moving book. The dark years when the Nazis rose to power are here seen through the lives of Edith Stein, a disciple of Husserl and author of La science et la croix, who died in Auschwitz in 1942; Hannah Arendt, pupil of Heidegger and Jaspers and author of Eichmann in Jerusalem, who unhesitatingly responded to Hitler by making a personal commitment to Zionism; and Simone Weil, a student of Alain and author of La pesanteur et la grâce.Following her subjects from 1933 to 1943, Sylvie Courtine-Denamy recounts how these three great philosophers of the twentieth century endeavored with profound moral commitment to address the issues confronting them. Condemned to exile, they not only sought to understand a horrible reality, but also attempted to make peace with it. To do so, Edith Stein and Simone Weil encouraged a stoic acceptance of necessity while Hannah Arendt argued for the capacity for renewal and the need to fight against the banality of evil.Courtine-Denamy also describes how as a student each woman caught the eye of her famous male teacher, yet dared to criticize and go beyond him. She explores each one's sense of her femininity, her position on the "woman question," and her relation to her Jewishness. "All three," the author writes, "are compelling figures who move us with their fierce desire to understand a world out of joint, reconcile it with itself, and, despite everything, love it."
The structural device of the “story within a story,” variously labeled “frame,” “Chinese box,” “Russian doll,” or “embedded” narrative, is so widely found in the literature of all cultures and periods as to approach universality. Despite its durable attraction for writers and audiences throughout history, however, embedded narrative remains a form largely unmapped by literary theory. This study surveys and synthesizes the work done to date on this significant artistic technique and breaks new ground by providing a comprehensive model for the description and analysis of the many types and functions of embedded narrative.
