Aarhus University Seal / Aarhus Universitets segl

Peer Bundgaard

The story turned upside down: Meaning effects linked to variations on narrative structure

Publikation: Bidrag til tidsskrift/Konferencebidrag i tidsskrift /Bidrag til avisTidsskriftartikelForskningpeer review

Standard

The story turned upside down: Meaning effects linked to variations on narrative structure. / Bundgaard, Peer; Østergaard, Svend.

I: Semiotica, Bind 165, Nr. 1-4, 2007, s. 263-276.

Publikation: Bidrag til tidsskrift/Konferencebidrag i tidsskrift /Bidrag til avisTidsskriftartikelForskningpeer review

Harvard

Bundgaard, P & Østergaard, S 2007, 'The story turned upside down: Meaning effects linked to variations on narrative structure', Semiotica, bind 165, nr. 1-4, s. 263-276.

APA

CBE

MLA

Vancouver

Author

Bundgaard, Peer ; Østergaard, Svend. / The story turned upside down: Meaning effects linked to variations on narrative structure. I: Semiotica. 2007 ; Bind 165, Nr. 1-4. s. 263-276.

Bibtex

@article{191a33e02d3011dcbee902004c4f4f50,
title = "The story turned upside down: Meaning effects linked to variations on narrative structure",
abstract = "This text has two parts. In the first section we intend to define the narrative schema—the canonical plot structure—as a symbolic form in Ernst Cassirer{\textquoteright}s sense of the term. This basically implies that the narrative schema is not an invariant higher order combinatorial form, but may itself be subject to variations in view of yielding specific meaning effects. This is because the production and reception of a narrative is a dynamic process where physical forces, modal forces and intentions set up a space of possibilities for the narrative trajectory. We therefore propose a determination of the narrative schema in terms of “force dynamics.” In the next section we proceed to an analysis of Ernst Hemingway{\textquoteright}s A Very Short Storyin order to illustrate this point. We lay down the main elements of its remarkable, if not simply outstanding both narrative and semantic-configurational structure: its plot structure is indeed driven by an inverted narrative schema and each significant event in the story but one (as well as each physical paragraph but one) has its rigorously symmetrical counterpart. Moreover, this inverted schema can be explained in terms of the modal forces at stake in the narrative.",
author = "Peer Bundgaard and Svend {\O}stergaard",
year = "2007",
language = "English",
volume = "165",
pages = "263--276",
journal = "Semiotica",
issn = "0037-1998",
publisher = "De Gruyter Mouton",
number = "1-4",

}

RIS

TY - JOUR

T1 - The story turned upside down: Meaning effects linked to variations on narrative structure

AU - Bundgaard, Peer

AU - Østergaard, Svend

PY - 2007

Y1 - 2007

N2 - This text has two parts. In the first section we intend to define the narrative schema—the canonical plot structure—as a symbolic form in Ernst Cassirer’s sense of the term. This basically implies that the narrative schema is not an invariant higher order combinatorial form, but may itself be subject to variations in view of yielding specific meaning effects. This is because the production and reception of a narrative is a dynamic process where physical forces, modal forces and intentions set up a space of possibilities for the narrative trajectory. We therefore propose a determination of the narrative schema in terms of “force dynamics.” In the next section we proceed to an analysis of Ernst Hemingway’s A Very Short Storyin order to illustrate this point. We lay down the main elements of its remarkable, if not simply outstanding both narrative and semantic-configurational structure: its plot structure is indeed driven by an inverted narrative schema and each significant event in the story but one (as well as each physical paragraph but one) has its rigorously symmetrical counterpart. Moreover, this inverted schema can be explained in terms of the modal forces at stake in the narrative.

AB - This text has two parts. In the first section we intend to define the narrative schema—the canonical plot structure—as a symbolic form in Ernst Cassirer’s sense of the term. This basically implies that the narrative schema is not an invariant higher order combinatorial form, but may itself be subject to variations in view of yielding specific meaning effects. This is because the production and reception of a narrative is a dynamic process where physical forces, modal forces and intentions set up a space of possibilities for the narrative trajectory. We therefore propose a determination of the narrative schema in terms of “force dynamics.” In the next section we proceed to an analysis of Ernst Hemingway’s A Very Short Storyin order to illustrate this point. We lay down the main elements of its remarkable, if not simply outstanding both narrative and semantic-configurational structure: its plot structure is indeed driven by an inverted narrative schema and each significant event in the story but one (as well as each physical paragraph but one) has its rigorously symmetrical counterpart. Moreover, this inverted schema can be explained in terms of the modal forces at stake in the narrative.

M3 - Journal article

VL - 165

SP - 263

EP - 276

JO - Semiotica

JF - Semiotica

SN - 0037-1998

IS - 1-4

ER -