Narratology: Key Vocabulary from "The Structure of Contemporary Philippine Speculative Fiction"

0.0(0)
studied byStudied by 0 people
learnLearn
examPractice Test
spaced repetitionSpaced Repetition
heart puzzleMatch
flashcardsFlashcards
Card Sorting

1/87

flashcard set

Earn XP

Description and Tags

Vocabulary flashcards covering major theorists, models, and key terms from the lecture notes on narratology.

Study Analytics
Name
Mastery
Learn
Test
Matching
Spaced

No study sessions yet.

88 Terms

1
New cards

Narratology

The study of narrative structure, elements and functions across different forms of storytelling.

2
New cards

Aristotle

Ancient Greek philosopher (384–322 BC) who, in the Poetics, outlined early narrative principles focused on character and action.

3
New cards

Character (Aristotle)

One of Aristotle’s two storytelling essentials; a figure whose traits are revealed through actions.

4
New cards

Action (Aristotle)

The second of Aristotle’s essentials; the events performed by characters that drive plot.

5
New cards

Hamartia

Aristotelian plot element meaning a character’s tragic flaw or underlying defect.

6
New cards

Anagnorisis

Moment of self-recognition or realization in Aristotle’s plot structure.

7
New cards

Peripeteia

Sudden reversal of fortune or ‘turn-around’ in Aristotle’s tragedy model.

8
New cards

Gustav Freytag

German novelist/critic who proposed the five-part Dramatic Arc (Freytag’s Pyramid) in 1900.

9
New cards

Freytag’s Dramatic Arc

Pyramid-shaped plot consisting of Introduction, Rising Action, Climax, Falling Action, and Catastrophe (denouement).

10
New cards

Introduction (Freytag)

First phase of the Dramatic Arc where characters and setting are established.

11
New cards

Rising Action

Series of events that build tension leading up to the climax in Freytag’s model.

12
New cards

Climax (Freytag)

Peak of tension or turning point at the pyramid’s apex.

13
New cards

Falling Action

Events after the climax that lead toward resolution or catastrophe.

14
New cards

Catastrophe (Freytag)

Original term for the resolution/ending in Freytag’s five-part structure.

15
New cards

Vladimir Propp

Russian folklorist who identified 31 narrative functions and seven spheres of action in folktales.

16
New cards

Propp’s 31 Functions

Fixed sequence of possible plot events (e.g., ‘Villainy,’ ‘Hero’s Return’) found in folktales.

17
New cards

Spheres of Action

Seven functional character roles in Propp’s theory (Hero, Villain, Donor, Helper, Dispatcher, False Hero, Princess/Prince).

18
New cards

Hero (Propp)

Role that seeks or is victimized; may perform quest and be rewarded.

19
New cards

Villain

Opposes the hero and initiates misfortune in Propp’s morphology.

20
New cards

Donor

Character who provides a magical object or assistance to the hero (Propp).

21
New cards

Magical Helper

Aid figure accompanying or guiding the hero (Propp).

22
New cards

Dispatcher

Role that announces the lack and sends hero on quest (Propp).

23
New cards

False Hero

Character who claims the hero’s achievements (Propp).

24
New cards

Princess/Prince

Sought-for person or reward that typically marries the hero (Propp).

25
New cards

Joseph Campbell

American mythologist who formulated the Monomyth or Hero’s Journey in 1949.

26
New cards

Monomyth (Hero’s Journey)

Universal three-act, 17-stage pattern: Departure, Initiation, Return.

27
New cards

Departure (Hero’s Journey)

First act covering stages like Call to Adventure and Crossing the Threshold.

28
New cards

Initiation

Second act with trials and transformation stages (e.g., Road of Trials, Apotheosis).

29
New cards

Return (Monomyth)

Third act involving the hero’s reintegration, Magic Flight, and Freedom to Live.

30
New cards

A. J. Greimas

French-Lithuanian theorist who created the Actantial Model (1966).

31
New cards

Actantial Model

Framework of six actants—Subject, Object, Helper, Opponent, Sender, Receiver—arranged along three axes.

32
New cards

Subject Actant

Seeks conjunction/disjunction with the Object in Greimas’s axis of desire.

33
New cards

Object Actant

Goal or value sought by the Subject (Greimas).

34
New cards

Helper

Assists the Subject in achieving the Object (axis of power).

35
New cards

Opponent

Hinders the Subject’s quest for the Object (axis of power).

36
New cards

Sender

Initiates the quest by requesting union between Subject and Object (axis of transmission).

37
New cards

Receiver

Beneficiary of the achieved junction between Subject and Object (Greimas).

38
New cards

Axis of Desire

Relationship between Subject and Object (conjunction/disjunction).

39
New cards

Axis of Power

Opposition between Helper and Opponent actants.

40
New cards

Axis of Transmission

Communication path from Sender to Receiver regarding the quest.

41
New cards

Tzvetan Todorov

Bulgarian-French critic who proposed a five-part Narrative Syntax (1969).

42
New cards

Equilibrium (Todorov)

Initial stable state before disruption begins.

43
New cards

Disruption of Equilibrium

Inciting incident that disturbs the narrative world (Todorov).

44
New cards

Repairing the Disruption

Actions taken to address the disturbance (Todorov).

45
New cards

Climax (Todorov)

Highest tension point before resolution in Todorov’s sequence.

46
New cards

New Equilibrium

Restored but altered stability at story’s end (Todorov).

47
New cards

Roland Barthes

French semiotician who identified five Narrative Codes in S/Z (1970).

48
New cards

Proairetic Code

Sequence of actions (plot events) creating narrative momentum.

49
New cards

Semantic Code

Connotative meanings that describe characters, places or objects.

50
New cards

Hermeneutic Code

Strategic withholding of information to create suspense or curiosity.

51
New cards

Cultural Code

Shared social knowledge or beliefs evoked by the text.

52
New cards

Symbolic Code

Binary oppositions and deeper symbolic structures within a narrative.

53
New cards

Gerard Genette

French narratologist who studied Narrative Discourse (1972).

54
New cards

Diegesis

Narrative ‘telling’—author or narrator directly relates events.

55
New cards

Mimesis

Narrative ‘showing’—events are dramatized as if unfolding before reader.

56
New cards

Focalisation

Perspective through which narrative information is filtered.

57
New cards

Zero Focalisation

Unlimited perspective with no single character focus (omniscient).

58
New cards

Covert Narrator

Anonymous, identity-less narrator typical of zero-focalised texts.

59
New cards

Overt Narrator

Narrator with identifiable persona; may be heterodiegetic or homodiegetic.

60
New cards

Heterodiegetic Narrator

Narrator who is not a character in the story world.

61
New cards

Homodiegetic Narrator

Narrator who is also a character within the story.

62
New cards

Frame Narrative

Outer story that contains another embedded story.

63
New cards

Embedded Narrative

Inner tale told by a character within the frame narrative.

64
New cards

Catherine Emmott

Narratologist who proposed Contextual Frames theory (1997).

65
New cards

Contextual Frame

Mental structure readers build to track characters, place and time.

66
New cards

Binding (Frames)

Keeping characters fixed within a particular frame (e.g., a room).

67
New cards

Priming (Frames)

Focusing attention on an active frame; can switch when a new frame is primed.

68
New cards

Overtness (Frames)

Extent to which bound/primed characters are explicitly mentioned; covert characters are unmentioned.

69
New cards

Immanuel Kant

Philosopher whose concept of schemata informed modern Schema Theory.

70
New cards

Schema Theory

Cognitive model where new information is matched to stored, organized knowledge structures (schemata).

71
New cards

Schema

Generalized memory structure containing connected information based on experience.

72
New cards

Frame (Schema Theory)

Contextual setting in which a schema operates.

73
New cards

Script (Schema Theory)

Ordered sequence of events expected within a specific frame.

74
New cards

Bottom-Up Processing

Cognitive flow from sensory input to memory storage (data-driven).

75
New cards

Top-Down Processing

Influence of existing memories/expectations on perception and comprehension.

76
New cards

CAM-WN (Congruent Association Model with Working Narrative)

Model illustrating interaction of sensory input (surface information) and long-term story grammar in narrative comprehension.

77
New cards

World Schemata

Rules governing the fictional world within a narrative.

78
New cards

Language Schemata

Reader’s knowledge of language style appropriate to a text.

79
New cards

Text Schemata

Expectations about text type and structure (e.g., genre conventions).

80
New cards

Dan Harmon

American producer who derived the 8-step Story Embryo from Campbell’s Monomyth.

81
New cards

Story Embryo

Harmon’s condensed Hero’s Journey of eight beats: Comfort, Need, Entry, Adaptation, Getting, Paying Price, Return, Change.

82
New cards

Rhythm of Biology

Cyclical pattern of Life vs. Death underlying stories (Harmon).

83
New cards

Rhythm of Psychology

Cycle of Conscious vs. Unconscious mind reflected in narrative journeys.

84
New cards

Rhythm of Society

Social oscillation between Order and Chaos mirrored in storytelling.

85
New cards

Zone of Comfort

Step 1 of Story Embryo: hero’s familiar starting state.

86
New cards

Unfamiliar Situation

Step 3 where the character crosses into the unknown world.

87
New cards

Pay a Heavy Price

Step 6: cost or sacrifice required before resolution in Story Embryo.

88
New cards

Return Changed

Step 8: hero reintegrates into original world with newfound growth.