AMBIENTUM BIOETHICA BIOLOGIA CHEMIA DIGITALIA DRAMATICA EDUCATIO ARTIS GYMNAST. ENGINEERING EPHEMERIDES EUROPAEA GEOGRAPHIA GEOLOGIA HISTORIA HISTORIA ARTIUM INFORMATICA IURISPRUDENTIA MATHEMATICA MUSICA NEGOTIA OECONOMICA PHILOLOGIA PHILOSOPHIA PHYSICA POLITICA PSYCHOLOGIA-PAEDAGOGIA SOCIOLOGIA THEOLOGIA CATHOLICA THEOLOGIA CATHOLICA LATIN THEOLOGIA GR.-CATH. VARAD THEOLOGIA ORTHODOXA THEOLOGIA REF. TRANSYLVAN
Rezumat articol ediţie STUDIA UNIVERSITATIS BABEŞ-BOLYAI
În partea de jos este prezentat rezumatul articolului selectat. Pentru revenire la cuprinsul ediţiei din care face parte acest articol, se accesează linkul din titlu. Pentru vizualizarea tuturor articolelor din arhivă la care este autor/coautor unul din autorii de mai jos, se accesează linkul din numele autorului.
Autori: DELIA ENYEDI.
Published Print: 2023-03-30
pp. 11-13
VIEW PDF
FULL PDF
Scholarly approaches to narration in performing arts and visual arts have focused on identifying an array of narrative structures driven by plot or characters. However, Mieke Bal’s seminal Narratology (1985) separates the study of “elements” (events, actors, places of the story) from “aspects” (presentation of those elements by means of the text). In Gerald Prince’s (1982) words this opposition arises in questions of “how” against questions of “what”, with an emphasis on the fact that the latter has garnered significantly more attention than the first. More recently, Daniel Punday (2003) proposed “corporeal narratology” as an interpretive method focusing on textual features of the human body in relation to the other narrative elements. In line with the Posthuman Paradigm, Punday’s “corporeal hermeneutics” contradicts the soul-body dualism approaching the body not as a mere prop, as an inanimate object but as a vital agent.
