...Sarah Copland; James Phelan Abstract This article proposes to revise rhetorical narrative theory's model of audiences in fiction (actual, authorial, narrative, ideal narrative, and narratee) by replacing the term/concept of the ideal narrative audience with that of the ideal narratee , defined...

... not have access to the anti-intuitive workings of reverse causality, we can thematize this oscillation on a performative level as the interplay between the narrator's and narratee's perspectives, which are looked at collectively as the two foci of narrative consciousness. Finally, and while leaving...

.... The article further discusses collective narrators, narratees, and the appropriation of collective narratives by actual world individuals and groups, using the Passover Haggadah as a primary example. Telling in the Plural: From Grammar to Ideology Uri Margolin Comparative Literature, Alberta...

... of the trenches and the fighting. Amossy • Ethos at the Crossroads of Disciplines 15 tial reader, with the narratee, with the fictional character. Although each interaction has its own aims and strategies, they are ultimately integrated into a coherent whole (Amossy a, b). The chapter...

... that the narrative audi- ence is not directly addressed by the narrator but rather overhears the address from the narrator to the narratee.5 Finally, the construct fits with Gallagher’s history. Once fictionality gets established as a viable mode between lying and reporting and once writers turn to extended...

... of incompatible voices; narratees can prove just as variable and contradictory; fabulas and syuzhets are occasionally multilinear, inconsis- tent, infinite; characters are sometimes ontologically diverse and fluctuat- ing — Richardson points to ways in which an “unnatural approach” (xiv) yields categories...

... “to the frame narrator as narratee” and through him to the reader (212). Part 3, “Shadow of a Tail: Problems of Authorship,” includes five articles, of which only the first two — Leona Toker’s “Name Change and Author Avatars in Varlam Shalamov and Primo Levi” and Marina Grishakova’s “Stranger than Fiction...

... was not interested in middle-class experience, and the peasantry was not active in literary production. In fact, the entire network of authors, narrators, narratees, and audiences is either explicitly marked as middle-class and male or defaults to this position: Goethe, the editor, Werther, Wilhelm, and the editor's...

... a temporal transfer that expresses the precedent by the consequent or vice versa). It became narratologically relevant thanks to Gérard Genette (1980 [1972]: 234–35), who characterized it in Narrative Discourse as ‘‘any intrusion by the extradiegetic narrator or narratee into the diegetic universe...

... a particular dia- gram to indicate the situation of narrative communication (Chatman 1978: 151; see figure 1). The box in the diagram is used to indicate that “only the implied author and implied reader are immanent to a narrative, the narrator and narratee are optional (parentheses). The real...

... of Joyce’s afternoon, the discussion focuses on the ontologi- cal self-­consciousness produced by the narrator’s address to the narratee regarding forks in the action as well as by ontological instabilities deriving from logical contradictions within the plot. In addition, Bell points to epis...

... to be sorted out. In the case of Joyce’s afternoon, the discussion focuses on the ontologi- cal self-­consciousness produced by the narrator’s address to the narratee regarding forks in the action as well as by ontological instabilities deriving from logical contradictions within the plot...

... of Joyce’s afternoon, the discussion focuses on the ontologi- cal self-­consciousness produced by the narrator’s address to the narratee regarding forks in the action as well as by ontological instabilities deriving from logical contradictions within the plot. In addition, Bell points to epis...

..., where Christof, the ‘‘creator’’ of the show, and his narratees, the television audience, live. According to information given in the movie, the televised The Truman Show represents Truman’s life visually even in situations where...

... that emphasizes speaker, audience, text, and purpose: somebody telling somebody else on some occasion and for some purpose(s) that something happened. In fictional nar- rative, the rhetorical situation is doubled: the narrator tells her story to her narratee for her purposes, while...

... of storytelling” (ibid In his endeavor to trace the modes in which “an author communicates to her audience by means of the character narrator’s communication to a narratee” (1), various theoretical issues arise. Phelan devotes particular attention to the interface and tensions between “narrator functions...

...). Popper, Karl 1985 Popper Selections , edited by David Miller (Princeton, NJ: Princeton University Press). Prince, Gerald 1981 “Introduction to the Study of the Narratee,” in Reader Response Criticism ,edited by Jane Tompkins, 7 -25 (Baltimore, MD: Johns Hopkins University Press). Rabinowitz...

... you read a work that you know or imagine others reading (including, as I have argued elsewhere, the narratee), you are engaged as an individual in interactions with other individuals, separated from each other, as William James says, by the most absolute breach in nature. This is what Fletcher...

... narration that Richardson ( 2006 : 29) discusses in the context of “extreme narration” has traits that often also define recipes: “the imperative, the frequent employment of the future tense, and the unambiguous distinction between the narrator and the narratee.” Equally, a narrative fiction can have...

...: Author ! Implied Author ! Narrator ! Narratee ! Implied Reader ! Reader (Chatman 1978: 151). Lively † Joint Attention, Semiotic Mediation, and Literary Narrative 525 Figure 1 The Saussurean speech circuit (Saussure 1966 [1915]: 11) oppositions.11 Alternative views of the nature...