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Today
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What Can We Learn from Contextualist
Narratology?
Seymour Chatman
Rhetoric, UC, Berkeley
Poetics Today 11:2 (Summer 1990). Copyright ? 1990 by The Porter Institute for
Poetics and Semiotics. ccc 0333-5372/90/$2.50.
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310 Poetics Today 1 1:2
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Chatman * Contextualist Narratology 311
In the first, the order of the telling follows the order of the told; in
the second, the order is reversed. "The distinction between order of
the telling and order of the told," argues Goodman, "does not imply
truth, or that events told of occurred in a given order, or even that
there are any such events" (1981: 256). In other words, we need not
posit the prior, independent existence of a possible world in which
Washington and Truman were assassinated, and in a certain order:
we simply accept such a world in the act of reading the text.
In short, narratology-whether it tries to account for history or fic-
tion-presupposes no ur-text in which "story" exists autonomously,
nor one whose discourse order perfectly parallels its story order. Nar-
ratology argues only that a narrative may present last events first and
first events last and that an implied reader can recognize that ordering.
How any actual reader goes about doing so is another matter.
Of course, narratology is enriched by any concern, including the
Contextualist's, about the "how" as well as the "what." The contextu-
alist proposes that a reader's ability to construe a chronology of events
rests on
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312 Poetics Today 1 1 :2
some combination of the following: (1) his prior knowledge or beliefs con-
cerning the chronology of those implied events as derived from other
sources, including other narratives; (2) his familiarity with the relevant con-
ventions of the language in which that narrative is presented (verb tenses,
adverbs, and adverbial clauses, and so forth, and comparable time markers
in other modes and media); (3) his familiarity with the relevant conventions
and traditions of the style and genre of that narrative; (4) his knowledge
and beliefs, including cultural assumptions, with respect to how things in
general, and the particular kinds of things with which that narrative is
concerned, happen and "follow from" each other-that is, his sense of
the "logic" of temporal and causal sequence; and (5) certain more or less
universal perceptual and cognitive tendencies involved in his processing
-apprehending and organizing-information in any form. (Smith 1981:
226)
That is a good list: (4) and (5)-knowledge about "the way the world
ordinarily goes"-seem particularly important for understanding how
narratives work.
But the necessity for these abilities, though undeniable, does not
undermine the discourse-story distinction. All that narratology argues
is the difference between the act of telling (or showing) and the object
told, and between their different temporal orders. All that it presumes
is that these time-orders are abstractable for discussion. They are noth-
ing more than constructs, their value limited to whatever explanatory
power they can provide. They form a convenient heuristic. The Con-
textualist wants to simplify narrative to a single structure, to be con-
cerned only with "why, in any given instance of narrative discourse,
someone has chosen (or agreed) to tell someone else that something
happened and why the latter has chosen (or agreed) to listen" (Smith:
229). If so simple an approach could provide a greater explanatory
power, there would be no reason not to prefer it. But I find little
evidence that it can.
Further, the Contextualist observes: "The origin of 'the story of Cin-
derella' has not yet been determined ... [and] cannot be determined"
(ibid.: 214).3 But the logical utility of narratology is not undermined
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Chatman * Contextualist Narratology 313
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314 Poetics Today 11 :2
6. Indeed, though over a decade old, two articles by Richard Ohmann (1971, 1974)
are still very suggestive for further inquiry. In Story and Discourse I applied speech
act theory in a modest way to the analysis of differences between the language of
narrators and that of characters (1978: 161-65).
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Chatman * Contextualist Narratology 315
7. It is not clear why the Contextualist should feel that communicative variables
have been totally ignored by narratology. Story and Discourse (Chatman 1978), for
example, spends many pages on the question of the communication model in nar-
rative and the number of parties it seems necessary to posit to account for the
transmission of the discourse.
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316 Poetics Today 1 :2
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Chatman * Contextualist Narratology 31 7
1. abstract
2. orientation
3. complicating action
4. evaluation
5. result or resolution
6. coda
8. Pratt (1977) does in fact devote the longest chapter (4) of her book to li
narratives. But since her project is not a general narratology, it would be un
fault the book for not advancing one.
9. Also, the insistence that every narrative include an evaluation of the
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318 Poetics Today 1 1:2
ence narrated seems to fly in the face of the effort by novelists since James and
Flaubert to eliminate judgment and other commentary from the narrator's pro-
nouncements.
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Chatman * Contextualist Narratology 319
12. Discussed by Pratt (1977: 59, 64, 66). Later in her book, Pratt finds in speech
act theory good reasons for distinguishing between Narrator and Real Author:
"Shandy, the fictional speaker, could be guilty of any or all the kinds of maxim
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320 Poetics Today 11:2
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Chatman * Contextualist Narratology 321
15. The speaker's "point is to produce in his hearers not only belief but also an
imaginative and affective involvement in the state of affairs he is representing and
an evaluative stance toward it. He intends them to share his wonder, amusement,
terror, or admiration of the event. Ultimately, it would seem, what he is after is
an interpretation of the problematic event, an assignment of meaning and value
supported by the consensus of himself and his hearers" (Pratt 1977: 136).
16. See Pratt's (1977) first chapter.
17. Pratt makes a curious concession about "tellability" in literary narratives: "As
with natural narratives, we expect literary works to be tellable. We expect narra-
tive literary works to deal with people in situations of unusual conflict and stress,
unusual for the characters if not for us" (1977: 140). But aren't "we," not the char-
acters, the ones who must decide about "tellability?" And if "unusualness" and the
like are not the criterial "focus," what is?
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322 Poetics Today 11 :2
18. The notion of one text-type's being at the service of another pretty much goes
out the window too: "It will be argued that literature is often or always didactic,
that is, intended to have some world-changing or action-inducing force. I think it
can be shown, however, that this aim has to be viewed as indirect in an analysis of
literary speech acts, since its achievement depends on first achieving the represen-
tative aim. All exempla work this way and differ in this respect from persuasion"
(Pratt: 143).
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Chatman * Contextualist Narratology 323
How does the audience decide that what it hears or reads or sees is, in
fact, tellable? Who is the relevant audience, that is, why is one audience
and not another competent to make the decision? As Frank Kermode
puts the question: "I do not know whether there is a minimum accept-
able measure of narrativity. (On whom should we conduct acceptability
tests? Wyndham Lewis's cabdriver? Philippe Sollers? The president of
the MLA?)" (Kermode 1981: 83). One answer offered by the Contex-
tualist is simply contentual: certain events are innately "tellable" by
their very subject matter, for example, "danger of death or of physical
injury," or the escape of an elephant. Adjectives used to character-
ize the "tellable" are "unusual," "terrifying," "weird," "wild," "crazy,"
"amusing," "hilarious," "wonderful," and more generally, "strange,"
"uncommon," "unusual." But does that mean that texts whose events
are banal, common, and tame are ipso facto not narratives? How
about all those novels and short stories that convey the tedium of
life? Indeed, even among vernacular tales, how about "shaggy dog"
stories? Conversely, does every text concerning dangerous, unusual,
or terrifying events automatically constitute a narrative? Such events,
obviously, could appear in Descriptions, Arguments, and Expositions
as well. Does their presence turn these texts into Narratives?
When it comes to actual practical analysis, the answer to the ques-
tion, "What is it that a text does to induce the audience to regard it as
display and not information?" seems to be a kind of decontextualiz-
ation. Here is how a Contextualist shows that plot summary-by defi-
nition merely an "informing" assertion-evolves into a fully displayed,
fully tellable text, indeed one of the greatest in Western literature:
A man returning victorious from war was killed by his wife shortly after
his arrival home
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324 Poetics Today 11:2
in-law to help recover his wife's sister, who had eloped with her lover.
When the allies' fleet was unable to sail, the chieftain sacrificed his
daughter in order to propitiate the gods. After seven years' absence, he
returned home victorious with his concubine, but they were both killed
by his wife and her own lover,
which presents the chieftain in a number of contradictory roles-descen-
dant, ruler, husband, brother-in-law, political and military ally, father, lover,
cuckold-whose collisions it seems, must inevitably destroy him.
[The complete text of Agamemnon] [the] details [of which], by providing
a more self-contained rationale for the story, make it less context-dependent
and more universally tellable. [my italics] (Leitch 1986: 26-27)
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Chatman * Contextualist Narratology 325
20. "In short, the very notion of literature is a normative one" (ibid.: 123).
21. The vernacular setting provides the storyteller with immediate, participator
feedback from the audience in the form of "nods, facial expressions, grunts" by
which he or she may gauge whether the audience is still granting him/her the righ
or "turn" to speak. In theatrical plays, as in literary situations, where turn-taking i
by convention impossible, the audience still has the opportunity, through applau
and the like, to show some residual "turn-taking" rights, rights to "reclaim" its
"peer status" (Pratt 1977: 111).
22. For example, the theater extends the playwright's "turn" by means of suc
conventions as printed programs, just as the public lecturer's rights to continue
speaking are supported by the convention of moderator or introducer or master o
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326 Poetics Today 11 :2
ceremonies. As for literature, there is not even a symbolic possibility, like applause,
of the audience's reclaiming peer status (of course, we can always throw the book
in the trash, but the author will not know about our breaking the communication
contract). Still, in Pratt's view, something of the speech convention is preserved:
titles, chapter headings, summaries constitute the literary author's "requests for
the floor." Further, the function of mediator is institutionalized in the persons of
critics, reviewers, librarians, professors, and so on. The text is "pre-selected" or
"pre-pared" for the audience, which has delegated its turn-taking rights to these
authorities.
23. Conversely, a question could be asked about the "mediator's" screening out of
naive or unworthy texts. Pratt argues that a novel which begins "It is a truth uni-
versally acknowledged that a single man in possession of a fortune must be in want
of a wife" could never have been published if the author really believed such a
proposition: "the editor would very likely have returned the manuscript; certainly
we would not be reading the book as avidly as we do today" (1977: 170). Only
Ann Landers could seriously entertain such a proposition. But aren't there, and
haven't there always been, narratives published which expound opinions as naive
as anything that might turn up in Landers's column? Aren't there editors as naive
as their "great unwashed" readership? Or (more egregiously) aren't there editors
who, knowingly, intentionally, and solely for profit, feed naive and silly narratives
to an undiscriminating public? The idea of edified mediators screening out unedi-
fying popular literature seems hard to swallow, especially if offered as criterial for
literature. It hardly seems to account for what makes Pride and Prejudice literature
and much of what appears on television or supermarket bookracks nonliterature.
It also seems to ignore historical changes of taste intrinsic to editorial practice as
well. Are we to imagine that the editors of medieval romances were just as likely to
recognize irony as those of Tristram Shandy and Pride and Prejudice? Conversely, can
we know for certain that the editors who published Swift's "A Modest Proposal" or
Gulliver's Travels were aware of the ironies involved?
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Chatman * Contextualist Narratology 327
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328 Poetics Today 1 1 :2
References
Chatman, Seymour
1978 Story and Discourse: Narrative Structure in Fiction and Film (Ithaca: Cornell
University Press).
1981 "Reply to Barbara Herrnstein Smith," in Mitchell 1981: 258-65.
1990 Coming to Terms (Ithaca: Cornell University Press).
Dictionary of World Literature
1960 edited by Joseph T. Shipley (New York: Philosophical Library).
Fowles, John
1969 The French Lieutenant's Woman (New York: Signet).
Goodman, Nelson
1981 "The Telling and the Told," in Mitchell 1981: 99-115.
Kermode, Frank
1981 "Secrets and Narrative Sequence," in Mitchell 1981: 79-97.
Labov, William
1972 "The Transformation of Experience in Narrative Syntax," in Language in
the Inner City (University Park, PA: Pennsylvania State University Press).
Labov, William, and Joshua Waletzky
1967 "Narrative Analysis: Oral Versions of Personal Experience," in Essays on
the Verbal and Visual Arts: Proceedings of the 1966 Annual Spring Meeting of the
American Ethnological Society, 12-45 (Seattle: University of Washington Press).
Lanser, Susan Sniader
1981 The Narrative Act: Point of View in Fiction (Princeton: Princeton University
Press).
Leitch, Thomas
1986 What Stories Are: Narrative Theory and Interpretation (University Park, PA:
Pennsylvania State University Press).
Mitchell, W. J. T., ed.
1981 On Narrative (Chicago: University of Chicago Press).
Ohmann, Richard
1971 "Speech Acts and the Definition of Literature," Philosophy and Rhetoric 4:
1-19.
1974 "Speech, Literature and the Space Between," New Literary History 5: 37-63.
Polanyi, Livia
1981 "What Stories Tell Us About Their Teller's World," Poetics Today 2: 97-112.
Pratt, Mary Louise
1977 Toward A Speech Act Theory of Literature (Bloomington: Indiana University
Press).
1986 "The Ideology of Speech Act Theory," Poetics Today 7: 59-72.
Smith, Barbara Herrnstein
1981 "Narrative Versions, Narrative Theories," in Mitchell 1981: 209-32.
Sternberg, Meir
1978 Expositional Modes and Temporal Ordering in Fiction (Baltimore: Johns Hop-
kins University Press).
Todorov, Tzvetan
1969 "Structural Analysis of Narrative," Novel 3: 70-76.
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