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narrative progression, although in an “unnatural” way. In narratives such as Coover’s “Heart suit” (2005) they magnify the already complex storyplot relation. I am happy to register signals – however vague – that nonverbal narrative techniques of the kind discussed above are beginning to attract the interest of leading narratologists. For example, in his explication of antimimetic strategies Richardson (2012: 77) opens up for the inclusion of one type of “unnatural” techniques I have described, even if he does so only in passing. Discussing the fabula – sjuzhet distinction, he notes:
DOI link for narrative progression, although in an “unnatural” way. In narratives such as Coover’s “Heart suit” (2005) they magnify the already complex storyplot relation. I am happy to register signals – however vague – that nonverbal narrative techniques of the kind discussed above are beginning to attract the interest of leading narratologists. For example, in his explication of antimimetic strategies Richardson (2012: 77) opens up for the inclusion of one type of “unnatural” techniques I have described, even if he does so only in passing. Discussing the fabula – sjuzhet distinction, he notes:
narrative progression, although in an “unnatural” way. In narratives such as Coover’s “Heart suit” (2005) they magnify the already complex storyplot relation. I am happy to register signals – however vague – that nonverbal narrative techniques of the kind discussed above are beginning to attract the interest of leading narratologists. For example, in his explication of antimimetic strategies Richardson (2012: 77) opens up for the inclusion of one type of “unnatural” techniques I have described, even if he does so only in passing. Discussing the fabula – sjuzhet distinction, he notes:
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