Structuralist approaches

1. Structuralist approaches

2. A model of narrative structure* • Plot vs discourse • Events: Propp’s functions • Roles (Greimas) • Characterization • Time management • Setting • Narrators and focalization *Adaptedfrom Simpson (2004) and Toolan (2006) These categories onften go under the rubric of ‘point of view’

3. Plot vs Discourse • Two basic components of narrative are narrative plot and narrative discourse • Cf. Russain formalists (early 20th century) fabula vs sjuzhet • Benvenieste, Barthes: histoire vs discours (story vs discourse)

4. Plot vs discourse • A basicdescriptionof the fundamentaleventsof a story, in theirnaturalchronologicalorder, withanaccompanying and equallyskeletalinventoryof the rolesof the characters Vs • The versionof the core story thatisrealized in anactualliterary (or cinematic, or dance) creation. Itcincludesall the techniquesthatauthorsbringto bear in theirpresentationof the basic story. (Toolan 2006: 460)

5. Citizen Kane, 1941 (Orson Wells) https://www.youtube.com/watch?v=-r0b_XeRkG4 • what can you determine about the movie from this opening sequence? • The "story" in this sequence: there is a gate and there is a mansion • the discursive presentation of this story leads to a number of interpretations that go beyond this rather simple plot:

6. Discourse (and attendantinterpretations) • gothic setting (athmosphere, castle, gloomy music, lighting ): mystery, anticipation of danger, evil, perhaps a death • Although the movie is, in fact, a biography, these generic expectations are fulfilled in the following scene in which we witness the enigmatic death of Kane in what appears to be a gothic castle. The rest of the movie then turns into a detective story of sorts, except that the secret to be uncovered is not what motivated a murder but what motivated a life. • sequence of fences and the "No Trespassing" sign: suggest that the viewer will not be allowed fully to reach the object of the film, "Citizen Kane. • A sort of transgression; intrusion; sense that something mysterious is being hidden here, something that we desire to learn more about, and yet something that the director seems intent on denying us, since each fence we cross is followed by another. Even once we finally reach the enigmatic window of the mansion, the light suddenly goes out before we can see what hides inside.

7. The house and its grounds as an element of characterization for the person that lives in it (rich, powerful…, isolated, lonely, unhappy…) • Kane's death: the falling snow of the crystal ball represents metaphorically the winter of Kane's life; possibly, the coldness of his heart and also, his mental reflections about his childhood innocence. The close-up on the lips also emphasizes the importance of Kane's last words (mystery)

8. Events • Narrativeswereoriginallydefinedbyfolklorists and anthropologists in termsofrecognizeablestructuresofevents: • “An initial state ofequilibriumisdisturbedbyvariousforcesofturbolence, before some sortofaction (perhaps a magicalintervention) leadsto the restorationof a modifiedversionof the originalequilibrium” (Toolan, 2006: 460)

9. Propp, V. The Morphologyof the folktale (1928): 31 functions • Initial situation (0) • Absentation One of the members of a family absents himself from home (1) • Interdiction An interdiction is addressed to the hero (2) • Violation The interdiction is violated (3) • Reconnaissance The villainmakesanattempt at reconnaissance (4) • Delivery The villain receives information about his victim (5) • Trickery The villain attempts to deceive his victim in order to take possession of him or of hisbelongings (6) • Complicity Victim submits to deception and thereby unwittingly helps his enemy (7) • Preliminary misfortune Preliminary misfortune caused by a deceitful agreement (7a) • Villainy The villain causes harm or injury to a member of a family (8) • Lack A member of a family lacks something or desires to have something (8a) • Mediation Misfortune or lack is made known; the hero is approached with a request or command; he is allowed to go or he is dispatched (9) • Beginningcounteraction The hero agrees to or decides upon counteraction (10) • DepartureThe hero leaves home (11) • First function of the Donor The hero is tested, interrogated, attacked etc., which prepares the way for his receiving either a magical agent or a helper (12)

10. The hero’s reaction The hero reacts to the actions of the future Donor (13) • Provision of a magical agent The hero acquires the use of a magical agent (14) • Guidance Hero is led to the whereabouts of an object of search (15) • Struggle The hero and the villain join in direct combat (16) • Branding The hero is branded (17) • Victory The villain is defeated (18) • Liquidation of Lack The initial misfortune or lack is liquidated (19) • ReturnThe hero returns (20) • Pursuit The hero is pursued (21) • RescueRescue of the hero from pursuit (22) • Unrecognized arrival Unrecognized, he arrives home or in another country (23) • Unfounded claims A false hero presents unfounded claims (24) • Difficult task A difficult task is proposed to the hero (25) • Solution The task is resolved (26) • Recognition The hero is recognized (27) • Exposure The false hero or villain is exposed (28) • Transfiguration The hero is given a new appearance (29) • Punishment The villain is punished (30) • Wedding The hero is married and ascends the throne (31)

11. Clustersoffunctions Preparation • Interdiction An interdiction is addressed to the hero (2) • Violation The interdiction is violated (3) • Trickery The villain attempts to deceive his victim in order to take possession of him or of hisbelongings (6) • Complicity Victim submits to deception and thereby unwittingly helps his enemy (7) Complication • Villainy The villain causes harm or injury to a member of a family (8) • Lack A member of a family lacks something or desires to have something (8a) • Beginningcounteraction The hero agrees to or decides upon counteraction (10) Struggle • First function of the Donor The hero is tested, interrogated, attacked etc., which prepares the way for his receiving either a magical agent or a helper (12) • The hero’s reaction The hero reacts to the actions of the future Donor (13) • Provision of a magical agent The hero acquires the use of a magical agent (14) • Struggle The hero and the villain join in direct combat (16) • Branding The hero is branded (17) • Victory The villain is defeated (18)

12. A model of character roles: Greimas’s Actant Model(1966) • Subject (hero) • Object – aim e.g. marriageto a beautiful princess (butalsoqualityof life, liberty, the pursuitofhappiness, greaterself-knowledge, the assertionoftruth) • Receiver (beneficiary) – whobenefitsform the accomplishmentofhero’s quest (can overlapwithotherroles e.g. the hero and the princesswill benefit fromtheirmarriage) • Opponenet – the villain • Helper – a friend or relative whohelps the herogenerouslybutwithlimited success. • Sender/Superhelper – the king, God, anindividualwithmagicalpowers…

13. Activity: can you find elements of event and character models in the following webpage (cf. Handout for the full story)

14. Identify the following in the • Functions • Absentation (1) • Villany (8) • Beginning counteraction (10) • Provision of a magical agent (14) • Struggle (16) • Victory (18) • Roles • Subject (hero) • Object • Receiver • Opponenet • Helper • Sender/Superhelper