Abstract: Das Bedeutungsfeld der Zeit im literarischen Genre der zur Kurz-Epik hinzugehörenden Volksmärchen und Kunstmärchen wird in dieser literaturwissenschaftlichen Untersuchung in den Mittelpunkt gerückt. Ausgegangen vom aristotelischen Zeitbegriff, der Bewegung und Veränderung als unabdingliche Merkmale der Zeit postuliert, wird nach dem Unterschied des den Märchen der Brüder Grimm und H.C. Andersen jeweils zugrunde liegenden Zeitbegriffs der zeitlich aufeinanderfolgenden Autoren gefragt. Daraus ergibt sich eine durch die close reading Methode gestützte Untersuchung, wie sie die Zeit anhand eines Beispiels aus ihren Werken thematisch, stilistisch und narratologisch organisiert haben. Der strukturalistische Literaturtheorieansatz Gérard Genettes hilft dabei die Komposition aus erzählter Welt und Erzählwelt der Märchen zu begreifen und die Zeitorganisation der vorliegenden Werke nach Ordnung, Dauer und Frequenz zu unterscheiden. Der aus dem erkenntnistheoretischen Ansatz Käte Hamburgers entwickelte Begriff des Epischen Präteritums lenkt das Bewusstsein auch auf  die zugrunde liegenden Rahmenbedingungen der epischen Fiktion in der Dichtkunst und verhelfen die zeitliche Ansprache an die Leser in die Untersuchung mit einzubinden. In der Untersuchung wird auch der Rhythmus als ein Wechselspiel der Zeit entdeckt und ihn als eine ihr dazugehörende Qualität erkannt und miteinbezogen. Als Beispiele wird das Volksmärchen „Die Sterntaler“ und Andersens „Das kleine Mädchen mit den Schwefelhölzern“ nach einem zwischen Form und Inhalt möglich kongruenten Zeitbegriff untersucht. Ein in dieser literarischen Auseinandersetzung entstehendes Begriffsnetz der sich gegenübergestellten Werke unterstützt die Annahme des kulturgeschichtlichen Wandels der Einstellung zur Zeit bei H.C. Andersen gegenüber der der Brüder Grimm und mag zur Diskussion und fortlaufenden Forschung der Literaturgeschichte im Detail beitragen. / <p>Jag skickar det nu en gång till, hoppas det är rätt och kommer fram</p>

This study focuses on the relationship between the author’s narrative craft and the potential for the reader’s empathetic response. Specifically, it discusses how an anachronous narrative structure provides the author with different ways to promote empathy. The discussion of empathy is key in the discussion of narrative craft: great characters are those a reader can empathise with. But the discussion of empathy runs deeper than this, with many scholars turning to the wider effects literature can have on a reader’s moral compass (Nussbaum 1997) and even their real-world behaviour (Keen 2007). This study sets aside the question of how to produce empathy and turns instead to the author’s craft. I have assessed the author’s capability of promoting empathy by building a framework of tools for the author (dubbed The Empathy Toolbox) from several studies conducted by narratology theorists. I have then analysed this in relation to my own work and that of Audrey Niffenegger and Kurt Vonnegut with a particular focus on characterisation and how this is affected by anachrony. This study is of value to all writers of creative fiction, as anachronous timelines can be employed across a breadth of genres using plot devices like flashbacks, flash-forwards and dream sequences. Furthermore, it provides authors with tools to aid their craft and help their work resonate with any reader, not just those that might have a similar background to their protagonist.

This essay is a close-reading study of Toni Morrison's novel Beloved. The purpose of this essay is to investigate and describe Gérard Genette's narratological theories and their function in the novel when looking at how the story is told. The questions that are being answered are how flashbacks actually affect the chronological order of events and who the narrator is that’s telling the story. The methods that are being used in the report are a close-reading of Beloved and making a selection of previous research. The selected research will show an overview of some examples of areas and theories that has been used in other essays. In the summary it appears from the result of the analysis that flashbacks functions as explanations of the characters' thoughts or actions in the present and that the narrator most of the time is the character that is in a particular situation.

<p>I denna uppsats analyseras Nancy Horans debutroman Kärleken till Frank med narratologiska begrepp. Analysen utgår från Gérard Genettes narratologiska system och är indelad i tre huvudområden; tempus, modus och röst. Syftet med uppsatsen är att, genom en strukturalistisk analys, öka förståelsen för romanen, dess berättarteknik och stil. Frågeställningar som behandlas är bland annat; Hur behandlar tid i berättelsen? Hur ser fokalisationen ut i romanen? Deltar berättaren som en karaktär i romanen, eller är den dold? Uppsatsen inriktar sig alltså på studiet av berättarkonsten, narrationen i Kärleken till Frank.</p><p> </p>

I denna uppsats analyseras Nancy Horans debutroman Kärleken till Frank med narratologiska begrepp. Analysen utgår från Gérard Genettes narratologiska system och är indelad i tre huvudområden; tempus, modus och röst. Syftet med uppsatsen är att, genom en strukturalistisk analys, öka förståelsen för romanen, dess berättarteknik och stil. Frågeställningar som behandlas är bland annat; Hur behandlar tid i berättelsen? Hur ser fokalisationen ut i romanen? Deltar berättaren som en karaktär i romanen, eller är den dold? Uppsatsen inriktar sig alltså på studiet av berättarkonsten, narrationen i Kärleken till Frank.

This essay is reading the Swedish author Stig Larssons debut Autisterna [The Autists] (1979) in the light of Gérard Genettes narratology and the time philosophy of Gilles Deleuze. The focus of the essay is time and how it is seemingly dissolved. The essay maps out a chronology of the non-chronological novel and from there discusses the breaking up of the empirical time. The essay uses Deleuze to explore the time-image of the novel to see how it is built up in the text for example by literary anyspace-whatevers. Hence the title, Anytime-whatever. We see in the novel an anachronistic relationship between story and narrative which cuts through the episodes of the novel like a modernist film creating disconnected space and temporal sequences.

No description available.

The aim of this study is to analyze the complexity of a narration and how a narrator can show himself in a story. In the novel L’Élégance du hérisson, (The Elegance of the Hedgehog) (Barbery 2006) there are several voices to be heard in the narration and we will analyze the differences. In all literary genres there is always a voice that tells the story. This is what Gérard Genette claims as the starting point for his narratological theory, which is the theoretical basis for this study. The study of different techniques allows sometimes to better understand the action and the meaning of a story.          In this essay, we deal with the narrative instance, which is the fundamental form of the narrator, the questions of who speaks and how someone speaks in a story. Genette describes the narrative instance as the connection between the narrative voice, the time and the narrative perspective. The result shows that the thoughts and the metaphors in the time of the narration are the most important aspect, in particularly the interpolated narration. That because it’s not only the action in the story that counts but even what’s happening in between the events.

I denna uppsats undersöks hur ångesttemat i romanen Ormen förstärks genom berättartekniken. Utifrån Kerstin Laitinens tankar om en ”osäkerhetens retorik” och med hjälp av narratologisk metod och delar av Gérard Genettes terminologi påvisas hur obestämdhetsmoment utifrån olika berättartekniska grepp uppstår och verkar i romanens olika delar. Genom att undersöka berättartekniken utifrån olika temporala aspekter och vad gäller berättarroll och framställningssätt, synliggörs hur Dagerman genom att, mer eller mindre uttalat, ändrar berättandets förhållanden genom olika skiften och växlingar i texten. Genom att använda olika typer av anakronier och genom att göra implicita och överraskande växlingar mellan olika berättare och mellan olika nivåer av berättande, genom att splittra och synkronisera, bildas obestämdhetsmoment, vilka skapar osäkerhet som bidrar till att förstärka ångesttemat i romanen.

In a narrative the narrator tells the story, and the focalizer is a character through whose eyes the story is seen. The narrator is thus the one who speaks, whilst the focalizer is silent. The identification of these two narratological features is made with the help of verbal cues such as personal pronouns for instance. Determining the narrator and the focalizer can sometimes be challenging due to ambiguous cues in the analyzed text, as well as narratological aspects which at times can be difficult to distinguish from each other. Determining the narrator and the focalizer in graphic narratives (comics) with no narrative voice, or which completely lack words, must be done with the help of pictorial cues instead. In this thesis, Shaun Tan’s wordless graphic narrative The Arrival is used in order to show how the narrator and the focalizer can be determined by combining pictorial cues with the reader’s general knowledge of storytelling as well as his or her experiences from real life scenarios. To analyze narratological features in The Arrival, I employ terminology from comics studies, literary and film narratology. My analysis shows that determining the narrator and the focalizer in narratives lacking explicit narrative voice is possible by using only pictorial cues.