ANALYSIS OF THE ELEMENTS OF NARRATIVE TEXT
narratological elements:
• The relationship and the distinction between fabula (or story) - as a set of events susseguentisi in the normal chronological order - el'intreccio (or speech) namely the organization of such events given by the narrator;
o To the narrative scheme, in which the traditional novel is almost fixed, with the initial situation of equilibrium (called onset) that is disturbed (eg, intervention of good to break off matriìmonio of Renzo and Lucia in The Betrothed), a number of adventures, in a crescendo of tension that reaches its maximum (Spannung said, for example, also in The Betrothed, the kidnapping of Lucy), up the conclusion that re-establishes a balance (called dissolution, is not necessarily positive);
· the articulation of the story in sequence, that is, narrative segments of unit content and meaning. We distinguish the sequences of the fable, that the individual parts or portions of which it is composed of sequences of the plot, which contain elements in addition to or even insignificant for the purpose of the fable, but significant in the intention of the author. The sequences also can be dynamic, when "handling" the narrative, or static, when they relate to events but not "dwell" to describe or to give explanations or arguments, to express thoughts and so on.
· characters, real or imaginary, "flat", "all round", etc.., Depending on the role played in the events differ
• The main character, that is the main figure in the center of the action, o To
'antagonist, that is the one that counteracts the action of the protagonist,
· the object, namely the character of the object of interest protagonist,
· the aide, who helps the protagonist ol'antagonista,
· the secondary characters and extras.
The set of relationships between the characters can give rise to a "system of personalities" in which each has no meaning in itself, but in relation to others.
· Time: need to distinguish between
or time in history, in which the events described take place (which, if there are sufficient indications in the text, can be calculated),
oe time of the speech, which is the time presented by the narrator (for example ...).
The relationship between historical time and time range of the speech order and duration:
or order of succession of events in speech may be the same or less with that of history: when you are not the same phenomena
· advances (prolepsis: for example ....)
° or return back (flash analepsis-back: for example, the life story of the Nun of Monza in The Betrothed)
or duration of events may be the same in plot and fabula, or vary, with acceleration or deceleration of narrative time than the real one (speed narrative) or suspensions (narrative ellipses, for example ....)
· space: the representation of space may have values objective (as in ...) or symbolic (as in ...) and may serve as background to the story, or interfere with it (for example ...) or even have a role (in ...) and may be uniform throughout the narrative, or vary ;
· invention and reality created by the author refers to the relationship between his art and experience the real invention, which can be expressed in different ways, such as:
or realistic reflection of real situations (for example ...)
or deformed or grotesque caricature (more ...)
or fantastic or improbable invention of worlds (as in ...) and so on.
· narrator's voice that is entrusted with the function of telling the story can be
or absent from history (as in The Betrothed), this type of story is called "heterodiegetic"
or present as a character in the story ( protagonist, as in Last Letters of Jacopo Ortis or Zeno's Conscience or Fu Mattia Pascal, or supporting role as the young Adso in the Name of the Rose), this type of story is called "homodiegetic. It can also be
:
or external to the story, all-knowing, all-knowing, because the matter told, its past, its development and so on. and and is able to judge from a Top View (as in the case of The Betrothed)
or internal to the story and declined in many viewpoints and levels of knowledge of the facts as the number of characters (as in the case of I Malavoglia)
· Self-view: or focus, the perspective chosen by the narrator to tell a story and express your level of knowledge of the events narrated. There are three types:
or zero focalization: the narrator (omniscient) knows all the history, development of the story, the mood of the characters, expressing opinions, etc.. (As in The Betrothed)
or internal focus: the narrator relates what he learns from his characters, and then builds story little by little through the views of one or more characters (as in I Malavoglia)
or external focus: the narrator ignores fundamental aspects of the story and it "disappears", but merely to record what he sees objectively, without showing reviews or comments (as in the detective novel);
· narrative techniques: to express thoughts and voice of the characters are used in various techniques:
or direct speech (or "scene" or "quote"), typical of external focus, is introduced usually by a verb declaratory
or free direct discourse, however, omitted the word declarative and the characters' words related directly as in a play
or indirect speech is one in which the narrator refers to speeches and thoughts of the characters from his point of view, begins with a declarative verb + the subordinating conjunction, is typical of the focus with zero omniscient narrator ;
or free indirect discourse are omitted declarative verbs and subordinating conjunctions and speeches and thoughts of the characters are inserted into the narrative and are mixed with those of the narrator, is typical of internal focus.
There are two typical techniques of twentieth-century narratives:
or interior monologue, in which a character expresses his thoughts out loud or mentally, to reorganize without timelines or logic;
or stream of consciousness, in which thoughts, ideas, memories and mental associations are shown as they appear, without any rational revision.
· Use language and style: the author, according to his personal aesthetic and ideological choices and the environment of the text, the social and cultural characterization of the characters, the historical context, chooses the linguistic register and style (formal or even between stately, medium and informal cf. A3) and therefore may vary in syntactic choices (eg, use of tenses, the construction period mainly paratactic or hypotactic etc..) choices lexical (use of archaic or technical, slang terms, etc..) and the use of rhetorical figures (see above).
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