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 thesis traces the career of the prolific eighteenth-century author Eliza Haywood through narratological analysis of some of her key works. It contributes to the new wave of Haywood criticism that is moving away from the thematic, gender based focus that has dominated discussion of her oeuvre since her critical rediscovery in the 1980s. My narratological method demonstrates how understanding at a formal and thematic level is enhanced by the employment of theoretical narrative paradigms. Narratology is interested in the relationship between the events of a narrative (story) and how these events are presented (text). I utilize the narratological terminology of Gérard Genette because it is narrative discourse, rather than the mere events of a story, that provides the basis for a meaningful discussion concerning matters of presentation. Making the topic of narrative discourse central to the study requires analysis of voice, point of view, speech, and temporality, as it covers the ways in which the story is told. Throughout her career, Haywood manipulates these narrative features so as to create inventive texts that adapt to the changing trends of the literary marketplace. Key topics of discussion include Haywood s continuous but developing use both of the embedded narrative and anachronies; the differing levels of intrusion created by her narrators employment of metanarrative commentary; and her progressive use of metalepsis: from her inclusion of simple scene changes in her earlier work, to her emphatic use of explicit diegetic interruptions in her later work that mirror those utilised by Henry Fielding. The thesis follows a chronological structure and is historically and bibliographically informed. This approach enables the thesis to provide extended comparison of Haywood s narrative choices with those of her main forebears and contemporaries, especially Aphra Behn, Delarivier Manley, Samuel Richardson, Tobias Smollett, and Henry Fielding.

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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>The present BA thesis is an analysis and a close reading of the French author Gabrielle Wittkop's novel Le Nécrophile (1972). The analysis consists of two parts. The first part focuses on the story and can be described as an attempt to interpret the engine of the history. The second part of the analysis focuses on the narrative; how the story is told. Le Nécrophiles main motif is re-encoding the representation of death in art and literature, traditionally conceived as a beautiful female corpse. The narrative embodies death as different of body types – men, women, old people, childen - and hence avoids to produce death as the female Other. By the use of different methods, such as metaphores, focalizing etc., the corpse becomes something more than a passive object, now threatening and interacting. In the novel necrophilia is described as a higher form of love. The historical view of sexuality as divided into high/low is strongly codified from a gender perspective; the higher form of love is associated with masculinity and the lower form with femininity. In Le Nécrophile the classification of high/low is based on life and death instead of masculinity and femininity; a new way of staging the binery pairs high/low.</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.</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.

The present BA thesis is an analysis and a close reading of the French author Gabrielle Wittkop's novel Le Nécrophile (1972). The analysis consists of two parts. The first part focuses on the story and can be described as an attempt to interpret the engine of the history. The second part of the analysis focuses on the narrative; how the story is told. Le Nécrophiles main motif is re-encoding the representation of death in art and literature, traditionally conceived as a beautiful female corpse. The narrative embodies death as different of body types – men, women, old people, childen - and hence avoids to produce death as the female Other. By the use of different methods, such as metaphores, focalizing etc., the corpse becomes something more than a passive object, now threatening and interacting. In the novel necrophilia is described as a higher form of love. The historical view of sexuality as divided into high/low is strongly codified from a gender perspective; the higher form of love is associated with masculinity and the lower form with femininity. In Le Nécrophile the classification of high/low is based on life and death instead of masculinity and femininity; a new way of staging the binery pairs high/low.

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.