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Storia e discorso
Narrative Structure in Fiction and Film. 'For the specialist in the study of narrative structure, this is a solid and very perceptive exploration of the issues salient to the telling of a story-whatever the medium. Chatman, whose approach here is at once dualist and structuralist, divides his subject into the 'what' of the narrative (Story) and the 'way'(Discourse)... Chatman's command of his material is impressive.'
321 pages, Paperback
First published January 1, 1978
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Displaying 1 - 28 of 28 reviews
November 3, 2010
This seems to synthesize a lot of other peoples' work, particularly Todorov, Genette, Booth and Barthes. I can't actually remember the bits that Chatman puts forward in his own name, which I guess is a good sign that all that synthesis doesn't leave you with a mess, but with a pretty coherent description of narrative art-forms; and I definitely remember thinking that when he argues against one of the aforementioned titans of the discipline, Chatman comes across as more sensible and more sympathetic to, you know, books, rather than theory. That's always a good thing. Despite being part of the structuralist camp, he understands the importance of social and historical context for 'structures,' and admits that a fuller understanding of history and societies than is evident here would help out narrative theory. It's even pretty decent writing. A hard slog, with a lot of definitions and hair-splitting, but better than it could have been.
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August 27, 2023Все ещё страшно полезная книга
December 25, 2016
I've revisited this sturdy investigation of narrative form and found it adequate enough for what it does. In some places the topic which the author focuses on has 'tightly defined edges'; but in other areas the boundaries are 'fuzzy'. It's a toss up. This is what originally put me off it.
I find that literary analysis like this one (and its just one of many similar titles out there, believe me) can usually wend into one of several veins: they can be (1) capable but un-compelling; (2) informative but irrelevant; they can be commendable, but (3) cover ground you already know. I found mixtures of all these aspects in this book. It isn't pioneering, it doesn't 'blaze any new trails' as far as I'm concerned. I was looking for something extraordinary, I suppose.
But (to be fair), what makes this handbook of narrative form still worth keeping on my shelf is the very fine diagramming of the 'position of the narrator' in a fable, myth, or story. This has some good utility. It is illuminating, and valuable to scrutinize. Otherwise I found most of the text 'familiar' from other works. All the expected references to V. Propp, Claude Levi-Strauss, etc. Oh well. Nevertheless, chalk another one off my TBR list!
I find that literary analysis like this one (and its just one of many similar titles out there, believe me) can usually wend into one of several veins: they can be (1) capable but un-compelling; (2) informative but irrelevant; they can be commendable, but (3) cover ground you already know. I found mixtures of all these aspects in this book. It isn't pioneering, it doesn't 'blaze any new trails' as far as I'm concerned. I was looking for something extraordinary, I suppose.
But (to be fair), what makes this handbook of narrative form still worth keeping on my shelf is the very fine diagramming of the 'position of the narrator' in a fable, myth, or story. This has some good utility. It is illuminating, and valuable to scrutinize. Otherwise I found most of the text 'familiar' from other works. All the expected references to V. Propp, Claude Levi-Strauss, etc. Oh well. Nevertheless, chalk another one off my TBR list!
September 15, 2025
Very good overview over narrative theory in the 20th century with occasional flashbacks to Plato and Aristotle. The author is shows the limitations of plot-fixated structuralist approaches without denying their usefulness for specific purposes. As opposed to this he stresses the importance of "discourse" when it comes to characters and settings which he does not regard as pure functions of the plot.
The book draws on a plethora of examples from literature and film, but the author introduces them in an appropriate manner so that you don't lose the thread if you have not read/ watched the specific example.
The book draws on a plethora of examples from literature and film, but the author introduces them in an appropriate manner so that you don't lose the thread if you have not read/ watched the specific example.
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January 1, 2024Leído para bibliografía de una trabajo
September 21, 2025
I always wanted to read more, but, as an adult, the blurriness of reading got in my way. Maybe I was depressed or hyperactive, because what used to be hours of reading found in a good book had turned into dizzying questions about what I was doing.
Hoping for answers, I picked up Chatman's book that theorizes, through structuralism and dualism, narrative as a story told by a particular discourse. With the promise of narrative in all of its forms uniting under one structure, I began to carefully take in Chatman’s words as if they were fact.
After an introductory chapter, Chatman begins with narrative as purely theoretical, events and existents that are only projections and are unique to each reader. Narrative at this level, or “story”, isn’t tangible, but Chatman almost makes it so as he describes its workings in the reader’s mind. You can look at it either as the premature birthing of narrative or as an impossibly clinical version of it that has been stripped of context. Regardless, it’s narrative striving to be utterly objective, and, in that way, it provided at times thrilling answers to my questions, and a vindicating dizziness.
In the second half of the book, Chatman introduces the other key part of narrative: "discourse", or the way story is told. As a result, he focuses less on narrative itself and more on the narrator, becoming less of a narratologist and more of a biographer. Here, narrative is nothing without the intentions of the narrator, these intentions being closely read out of example passages by Chatman. Further contact is also made with the narratee, or the person to whom the narrator is narrating, a reminder that narrative is after all a dialogue. And of course, narrative becomes more than a theory; it is now a physical sign in the real world. My dizziness was not only acknowledged here but started to clear as Chatman medicated my insistence towards perfection with narrative's disregard for it.
The conundrum that is narrative structure didn’t clear up entirely, though. It still largely is due to my inability in accepting narrative as not a solvable puzzle. If it were, I would only need step-by-step directions in how to see it. Instead, in what I admit is a much more satisfying offer, I’m given Chatman’s guidance on how to “read out”, casting narrative as a space from which many solutions can be obtained. Or is there only one solution? Therein lies the conundrum of structuring a connection between two beings, or there being a story instead of only discourse.
A dualist act of structuring such as this is inevitably compromised, and Chatman valiantly fights for there being a definitive structure made from the universal impulses of narration. Underneath all narrative statements, says Chatman, is someone doing with narrative material a series of actions as a narrator, thereby creating narrative structure. After reading a narrative once, Chatman advocates going back to read out how it works, or how its parts interrelate. Doing so requires the emotional disconnect of no longer listening to the narrator but instead objectifying their every move. This inherently privileges story over discourse, something that Chatman models by terming the form of discourse that is story expressing itself unmediated as “direct”. Such practice will turn off many readers, and Chatman could make his theory more attractive by considering parts of narrative structure that are external and sociocultural. This is especially true since Chatman doesn’t always write with the clear, wise hand that is needed when describing abstract concepts.
However, the concepts themselves are supremely useful, especially for me who has tended to overly objectify narrative. Perhaps I still do, but watching Chatman interact with those concepts within narrative that are more artistic and interpersonal has helped my analysis become more fluid. Narrative structure structures life itself, or at least gives you a sense of the materials at play, and Chatman does so in a way that is my biggest takeaway here.
Hoping for answers, I picked up Chatman's book that theorizes, through structuralism and dualism, narrative as a story told by a particular discourse. With the promise of narrative in all of its forms uniting under one structure, I began to carefully take in Chatman’s words as if they were fact.
After an introductory chapter, Chatman begins with narrative as purely theoretical, events and existents that are only projections and are unique to each reader. Narrative at this level, or “story”, isn’t tangible, but Chatman almost makes it so as he describes its workings in the reader’s mind. You can look at it either as the premature birthing of narrative or as an impossibly clinical version of it that has been stripped of context. Regardless, it’s narrative striving to be utterly objective, and, in that way, it provided at times thrilling answers to my questions, and a vindicating dizziness.
In the second half of the book, Chatman introduces the other key part of narrative: "discourse", or the way story is told. As a result, he focuses less on narrative itself and more on the narrator, becoming less of a narratologist and more of a biographer. Here, narrative is nothing without the intentions of the narrator, these intentions being closely read out of example passages by Chatman. Further contact is also made with the narratee, or the person to whom the narrator is narrating, a reminder that narrative is after all a dialogue. And of course, narrative becomes more than a theory; it is now a physical sign in the real world. My dizziness was not only acknowledged here but started to clear as Chatman medicated my insistence towards perfection with narrative's disregard for it.
The conundrum that is narrative structure didn’t clear up entirely, though. It still largely is due to my inability in accepting narrative as not a solvable puzzle. If it were, I would only need step-by-step directions in how to see it. Instead, in what I admit is a much more satisfying offer, I’m given Chatman’s guidance on how to “read out”, casting narrative as a space from which many solutions can be obtained. Or is there only one solution? Therein lies the conundrum of structuring a connection between two beings, or there being a story instead of only discourse.
A dualist act of structuring such as this is inevitably compromised, and Chatman valiantly fights for there being a definitive structure made from the universal impulses of narration. Underneath all narrative statements, says Chatman, is someone doing with narrative material a series of actions as a narrator, thereby creating narrative structure. After reading a narrative once, Chatman advocates going back to read out how it works, or how its parts interrelate. Doing so requires the emotional disconnect of no longer listening to the narrator but instead objectifying their every move. This inherently privileges story over discourse, something that Chatman models by terming the form of discourse that is story expressing itself unmediated as “direct”. Such practice will turn off many readers, and Chatman could make his theory more attractive by considering parts of narrative structure that are external and sociocultural. This is especially true since Chatman doesn’t always write with the clear, wise hand that is needed when describing abstract concepts.
However, the concepts themselves are supremely useful, especially for me who has tended to overly objectify narrative. Perhaps I still do, but watching Chatman interact with those concepts within narrative that are more artistic and interpersonal has helped my analysis become more fluid. Narrative structure structures life itself, or at least gives you a sense of the materials at play, and Chatman does so in a way that is my biggest takeaway here.
March 31, 2012
Well, this guy introduced so many terms into narrative theory that he's almost a founding father. He was honored with a lifetime achievement award at the conference I went to recently, and he looks like the cutest little old grandfather. His narrative communication model is pretty much considered the standard operating procedure, though lots of scholars of late (including two of my professors, David and Jim) are tweaking it. (Jim's new model is particularly interesting. Not that you care.) He also coined the terms overt and covert narrators, builds on Genette's ideas of temporality, and illuminates previously established concepts like story/discourse, actants, kernels/satellites, etc.
My friends on here must be bored to tears. I'll try to sneak in a fun book sometime.
My friends on here must be bored to tears. I'll try to sneak in a fun book sometime.
May 4, 2019
I grabbed this book because putting together all the puzzle pieces of my story became overwhelming. This man has simplified the writing process from story premise to a well sketched out masterpiece. For all the puzzle pieces I have filed away, I can now execute my handwritten stories I've been holding onto for ages. I borrowed this book from the library, but I will purchase one to keep on my shelf.
July 19, 2024
Chatman gives the easily comprehensible version of Genette's theory on narrative structure with examples from many books and movies, and includes small improvements to the theory.
May 11, 2020
Seymour Chatman ofrece un modelo narratológico que tiene presentes los precedentes de formalistas rusos tales Propp, estructuralistas como Barthes o Todorov, y de la escuela norteamericana como H. James. Aunque difiere en aspectos tan importantes como la concepción del personaje opuesta a la planteada por los funcionalistas y parte de los estructuralistas.
A grandes rasgos Chatman analiza en este ensayo la construcción de la narración a partir de dos categorías: historia y discurso. En la primera parte analiza, y explica con ejemplos didácticos, los elementos constitutivos de la historia: sucesos (acciones y acontecimientos) y existentes (personajes y escenarios -esta última menos desarrollada-). La parte del discurso resulta todavía más interesante pues amén de las diferentes modalidades de representación (indirecto puro, libre, directo, narrado, etc.) o la figura del narrador (presencial, ausente, etc.), presta atención a las intromisiones del narrador en la historia y su discurso clasificándolas así en juicios, generalizaciones, o interpretaciones. También dedica la última parte del libro al aspecto pragmático por medio de la figura del narratario, no siempre debidamente atendida por los críticos.
En definitiva, se trata de una obra clara en su exposición taxonómica (aunque no se tenga que estar en todo de acuerdo), y puede resultar buena herramienta con la que empezar a abordar el análisis de una narración literaria.
A grandes rasgos Chatman analiza en este ensayo la construcción de la narración a partir de dos categorías: historia y discurso. En la primera parte analiza, y explica con ejemplos didácticos, los elementos constitutivos de la historia: sucesos (acciones y acontecimientos) y existentes (personajes y escenarios -esta última menos desarrollada-). La parte del discurso resulta todavía más interesante pues amén de las diferentes modalidades de representación (indirecto puro, libre, directo, narrado, etc.) o la figura del narrador (presencial, ausente, etc.), presta atención a las intromisiones del narrador en la historia y su discurso clasificándolas así en juicios, generalizaciones, o interpretaciones. También dedica la última parte del libro al aspecto pragmático por medio de la figura del narratario, no siempre debidamente atendida por los críticos.
En definitiva, se trata de una obra clara en su exposición taxonómica (aunque no se tenga que estar en todo de acuerdo), y puede resultar buena herramienta con la que empezar a abordar el análisis de una narración literaria.
April 28, 2021
Seymour Chatman's Story and Discourse is the launchpad for New Testament narrative criticism, a movement which attempts to apply literary theory to our study of the Gospels. Because I am looking into narrative criticism, it seemed appropriate I should read the book that birthed it.
But wow, this is a technical work.
It is a work that deserves five stars, even if its reliance on structuralism dates it. Chatman distinguishes between story (what is being told) and discourse (how it is being told) in any work of fiction, and although the Gospels are not fiction these are useful categories for Gospel studies.
But wow, this is a technical work.
It is a work that deserves five stars, even if its reliance on structuralism dates it. Chatman distinguishes between story (what is being told) and discourse (how it is being told) in any work of fiction, and although the Gospels are not fiction these are useful categories for Gospel studies.
March 31, 2023
Kniha Příběh a diskurs: Narativní struktura v literatuře a filmu od Seymoura Chatmana je cenným podlladem pro studium naratologie, tedy vyprávění. Pokud chceme číst příběhy uzavřené v knihách řádně, měli bychom si tento titul nastudovat. Abych pravdu řekla, tak mi v mnohém otevřel oči. Titul jsem četla pro účely sepsání diplomové práce a domnívám se, že se k němu ještě někdy v budoucnu vrátím.
January 29, 2020
Un classico imperdibile.
Want to read
October 29, 2020Good
February 20, 2021
Tenete questo libro lontano dagli aspiranti scrittori e dai corsi di laurea in lettere che ne sono pieni.
March 17, 2022
Perhaps one of the last good books on literary theory before wokeism destroyed academia. More information than I needed, but I was glad to have read it anyway.
March 15, 2023
This was one of the mainstays of narrative scholarship in the 1980s alongside Genette''s Narrative Discourse, and Chatman's text probably was and is more useful!
November 15, 2023
A fairly basic introduction. Some of the theories discussed have aged, and the structuralist approach comes with its own issues.
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May 26, 2024L'ho dimenticato sul treno come uno Zeno Cosini qualunque. La metà che ho letto era interessante (anche se ho una lettura da iniziare che mi attrae molto di più)
April 17, 2008
This is a core book to any study of narratology, and the discussion of the techniques used in film really helps to highlight what written fiction does well and how it is different from narrative in film. The primary sections are on story events, story existents (fascinating stuff on character here), nonnarrated stories, and covert versus overt narrators. The examples where he analyses each sentence of a quoted passage are particularly helpful in spotting the nuances of narration. This is an analysis of narration that really pays off further study; I learn something new every time I pick it up.
May 12, 2011
Rather interesting stuff, but feels so odd in this modern context to be going through dichotomies like this. (spoiler alert) I do like the idea that story is more content and discourse is more formal and of course I agree that persuasive is cultural & historical. I did like the bit about illocutionary speech acts in the narrator. Still I was hoping for a more theoretical than taxonomic. Maybe that's an unfair assessment--it's a fine book.
September 5, 2013
I had to read this for a master's level narratology course, and it nearly cracked my head open. Perhaps the most important thing I learned from reading this book is that I am not phd material. I'll stick with my creative writing and leave the deep analysis to those of you who are way smarter than I am.
September 10, 2008
Read it in a film class. Just could not enjoy it. I tried. I made me alternately sleepy and angry.
October 21, 2010
wonderful, clear and insightful. Plus it has good diagrams that made me think.
September 21, 2012
Reading this book, I felt like Alice through the craft looking-glass: I know this room, but it's not MY room...
December 9, 2012
Entertaining!
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May 27, 2014Useful taxonomy of narrative form and content.
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August 4, 2017Abbastanza utile.
Displaying 1 - 28 of 28 reviews