By Peter Hühn
An occasion, outlined because the decisive flip, the marvelous aspect within the plot of a story, constitutes its tellability, the incentive for studying it. This publication describes a framework for a narratological definition of eventfulness and its dependence at the ancient, socio-cultural and literary context. a chain of fifteen analyses of British novels and stories, from overdue medieval and early sleek occasions to the past due twentieth century, demonstrates how this idea may be positioned into perform for a brand new, particularly contextual interpretation of the relevant relevance of those texts. The examples comprise Chaucer´s ""Miller´s Tale"", Behn´s ""Oroonoko"", Defoe´s ""Moll Flanders"", Richardson´s ""Pamela"", Fielding´s ""Tom Jones"", Dickens´s ""Great Expectations"", Hardy's ""On the Western Circuit"", James´s ""The Beast within the Jungle"", Joyce´s ""Grace"", Conrad´s ""Shadow-Line"", Woolf´s ""Unwritten Novel"", Lawrence´s ""Fanny and Annie"", Mansfield´s ""At the Bay"", Fowles´s ""Enigma"" and Swift´s ""Last Orders"". this option is concentrated at the transitional interval from 19th-century realism to 20th-century modernism simply because in the course of those a long time conventional options of what counts as an occasion have been variously problematized; for that reason, those texts offer a very fascinating box for checking out the analytical capability of the time period of eventfulness.
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Additional info for Eventfulness in British Fiction (Narratologia: Contributions to Narrative Theory)
Seen from this perspective, characteristics of the aristocratic martyr are implicitly attributed to Oroonoko. ), both also pre-eminently aristocratic values. The practical validity and moral justification of the aristocratic concept of social hierarchy are, however, called into question by a series of examples of failure by the authorities and of the misuse of power for base human desires. ), but it also pertains ultimately to the governor himself, who, through his absence and his lack of control over his deputy, neglects his duties.
Geoffrey Chaucer: “The Miller’s Tale” 29 incapable of recognising this connection (least of all the carpenter, nor Absolon, who does not know whom he has struck or why). In this sense, in this tale it is a matter of reception events, and actually the special form of the reception event in which the sudden change to laughter or Schadenfreude expresses itself in close connection with moral insight. Translated by Alexander Starritt References Robinson, F. , ed. (21966). The Works of Geoffrey Chaucer (London: Oxford UP).
42 The partial undermining of the ethical code, despite it being – as shown – clearly cited at various points, by moments of amoral burlesque also includes the furious personal motivation of Absolon’s revenge for his humiliation. A further attenuation of the serious and didactic meaning unfolds from the parodic intertextual resonance of “The Miller’s Tale” with the preceding “Knight’s Tale”, with its conventional courtly love theme, which is parodied by both the not at all courtly seducer Nicholas and the grotesquely soulful, feminine figure of the courtly lover, Absolon.