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  <controlfield tag="008">080512                             eng  </controlfield>
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   <subfield code="a">052165033X </subfield>
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   <subfield code="a">PN3383.N35 </subfield>
   <subfield code="b">ABB 2002</subfield>
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  <datafield tag="100" ind1="1" ind2="0">
   <subfield code="a">Abbott </subfield>
  </datafield>
  <datafield tag="245" ind1="1" ind2="4">
   <subfield code="a">The Cambridge introduction to narrative  </subfield>
   <subfield code="c">H. Porter Abbott.</subfield>
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  <datafield tag="260" ind1="0" ind2="0">
   <subfield code="a">Cambridge, UK ; New York, NY, USA: </subfield>
   <subfield code="b">Cambridge University Press, </subfield>
   <subfield code="c">2002.</subfield>
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  <datafield tag="300" ind1=" " ind2=" ">
   <subfield code="a">xiv, 203 p.: </subfield>
   <subfield code="b">ill.; </subfield>
   <subfield code="c">24 cm.</subfield>
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  <datafield tag="500" ind1="0" ind2="0">
   <subfield code="a">Machine generated contents note: Chapter 1 Narrative and life 1 -- The universality of narrative 1 -- Narrative and time 3 -- Narrative perception 6 -- Chapter 2 Defining narrative 12 -- The bare minimum 12 -- Story and narrative discourse 14 -- The mediation (construction) of story 17 -- Constituent and supplementary events 20 -- Narrativity 22 -- Chapter 3 The borders of narrative 25 -- Framing narratives 25 -- Paratexts 26 -- The outer limits of narrative 27 -- Is it narrative or is it life itself? 31 -- Chapter 4 The rhetoric of narrative 36 -- The rhetoric of narrative 36 -- Causation 37 -- Normalization 40 -- Masterplots 42 -- Narrative rhetoric at work 46 -- Chapter 5 Closure 51 -- Conflict: the agon 51 -- Closure and endings 52 -- Closure, suspense, and surprise 53 -- Closure at the level of expectations 54 -- Closure at the level of questions 56 -- The absence of closure 57 -- Chapter 6 Narration 62 -- A few words on interpretation 62 -- The narrator 63 -- Voice 64 -- Focalization 66 -- Distance 67 -- Reliability 69 -- Free indirect style 70 -- Narration on stage and screen 72 -- Chapter 7 Interpreting narrative 76 -- The implied author 77 -- Underreading 79 -- Overreading 82 -- Gaps 83 -- Cruxes 85 -- Repetition: themes and motifs 88 -- Chapter 8 Three ways to interpret narrative 93 -- The question of wholeness in narrative 93 -- Intentional readings 95 -- Symptomatic readings 97 -- Adaptive readings 100 -- Chapter 9 Adaptation across media 105 -- Adaptation as creative destruction 105 -- Duration and pace 107 -- Character 109 -- Figurative language 111 -- Gaps 114 -- Focalization 115 -- Constraints of the marketplace 118 -- Chapter 10 Character and self in narrative 123 -- Character vs. action 123 -- Flat and round characters 126 -- Can characters be real? 127 -- Types 129 -- Autobiography 131 -- Life writing as performative 134 -- Chapter 11 Narrative contestation 138 -- A contest of narratives 138 -- A narrative lattice-work 142 -- Shadow stories 144 -- Motivation and personality 146 -- Masterplots and types 148 -- Revising cultural masterplots 150 -- Battling narratives are everywhere 152 -- Chapter 12 Narrative negotiation 156 -- Narrative negotiation 157 - ritical reading as narrative negotiation 162 -- Closure, one more time 168 -- The end of closure? 171</subfield>
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  <datafield tag="501" ind1="0" ind2="0">
   <subfield code="a">SAH</subfield>
  </datafield>
  <datafield tag="504" ind1="0" ind2="0">
   <subfield code="a">Includes bibliographical references (p. 183-186) and index</subfield>
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  <datafield tag="650" ind1="0" ind2="0">
   <subfield code="a">Narration (Rhetoric) </subfield>
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  <datafield tag="650" ind1="0" ind2="0">
   <subfield code="a">Fiction -- </subfield>
   <subfield code="x">Technique </subfield>
  </datafield>
  <datafield tag="901" ind1=" " ind2=" ">
   <subfield code="u">http://www.cambridge.org</subfield>
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