[Gerard Genette] Fiction Diction(Bookos.org)

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    LSOBY GER RD G N TT

    Narrative Discourse n Essay in Methodtranslated by Jane E Lewin 1970)Narrative Discourse Revisitedtranslated by Jane E Lewin 1988)

    ea, GER RD GENETTE

    FI TION DI TIONTR NSL TED BY

    C THERINE PORTER

    Cornell University PressITH C ND LONDON

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    Fiction et diction by Gerard Genette,was published in French,Copyright Editions du Seuil, 1991.Translation cop yright 1993 by Cornell UniversityAll rights reserved. Except for brief quotations in a review, this book,or parts thereof, must not be reproduced in any form withoutpermission in writing from the publisher. For information, addressCornell University Press, Sage House, 512 East State Street, Ithaca,New York 14850.

    First published 1993 by Cornell University Press.

    International Standard Book Number 0-8014-2832-7 cloth)International Standard Book Number 0-8014-8086-8 paper)Library of Congress Catalog Card Number 93-25177Printed in the United States of AmericaLibrarians: Library o Congress cataloging informationappears on the last page o the book.@lThe paper in this book meets the minimum requirementsof the American National Standard for InformationSciences Permanence of Paper for PrintedLibrary Materials, ANSI 239.48-1984.

    1234

    CONTENTS

    Preface viiFiction and Diction 1Acts of Fiction 30Fictional Narrative, Factual Narrative 54Style and Signification 85List of Works Consulted 43Index 49

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    PREF CE

    e four essays that follow deal in various ways withthe question of regimes criteria and modes of literariness. According to Roman Jakobson's widely accepted definition, literariness is the aesthetic aspect of literature-which of coursehas many other aspects as well. Thus these essays attempt tospell out the conditions under which a text, oral or written,can be perceived as a literary work, or, more broadly, as a(verbal) object with an aesthetic function-a genre whoseworks constitute a particular species defined by the fact,among others, that the aesthetic function is intentional in nature (and perceived as such).

    This difference in scope corresponds more or less to theopposition between the two regimes of literariness: the consti-tutiv regime, which is underwritten by a complex of intentions, generic conventions, and cultural traditions of all sorts;and the conditional regime, which arises from a subjective andalways revocable aesthetic appreciation.

    The quite theoretical (and often unnoticed) category of re-

    VII

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    PREFACE

    sis of the relation between language and style, that is, between the semantic function of discourse and its aspect ofperceptibility.That these two apparently heterogeneous modes-on the

    one hand the fictional nature of a story, and on the other theway in which a text, beyond what it says allows a reader toperceive and appreciate what it is-should converge in a single functioh may appear obscure or problematic. The commonfeature, I suspect, has to do with a disturbance in the transparency of discourse: in the one case (fiction) because its objectis more or less explicitly posited as nonexistent; in the other(diction) even though this object is taken to be only somewhatless important than the intrinsic properties of the discourseitself.

    As for the way in which that relative opacity, whatever itsmode or cause, may constitute a properly aesthetic feature,that is a question that clearly calls for a broader investigation,one that would extend well beyond the field-a field we arebeginning to perceive as excessively narrow-of poetics. 1

    G G.1 Chapter 2 was published earlier as Le statut pragmatique de la fic

    tion narrative, Poetique 78 (April 1989), 237-49, and in English as ThePragmatic Status of Narrative Fiction, trans. William Nelles and CorinneBonnet, tyle 24 (Spring 1990), 59-72. Chapter 3 appeared in English asFictional Narrative, Factual Narrative, trans. Nitsa Ben-Ari with BrianMcHale, Poetics Today (Winter 1990), 755-74. I thank the journals inquestion for their kind permission to reprint.

    x

    FICTION DICTION

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    ea,

    FICTION ND DICTION

    H a d I not anticipated ridicule, I might have adornedthis essay with a title that has already been overused: WhatIs Literature? As we know, the celebrated text that takes thatquestion as its title does not really answer i t a very prudenttack to take, as it happens. A foolish question does not requirean answer; by the same token, true wisdom might consist innot asking it at all. Literature is undoubtedly sever l things atonce, things that are connected, for example, by the ratherloose bond of what Wittgenstein called family resemblance,and are difficult, or perhaps-according to an uncertaintyprinciple comparable to the ones invoked in physics-impossible to consider simultaneously. I shall thus restrict myself toa single aspect of literature, the one I consider most impor-tant: the aesthetic aspect. There is indeed a more or less uni-versal though often forgotten consensus according to whichliterature is, among other things, an art, and there is no lesswidespread evidence that the raw material specific to this artis language t ha t is to say, of course, l ngu ges (since, asMallarme soberly noted, there are several of these).

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    FICTION AND DICTION

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    monic judgment does not invalidate our problematics, however: whatever the answer may be, the question was worthasking. Indeed, the question ought to be all the less discouraging to empirical inquiry, for even-or especially-if narrative forms readily cross the borderline between fiction andnonfiction, it is no less urgent, or rather it is all the moreurgent, for narratology to follow their example. 44accurate hic et nunc, but we would have to wait several decades to find outwhat will become of it in the long run. The first occurrences of freeindirect style, the first narratives in internal monologue, the first quasifictions of the new journalism, and so on, may have been surprisingand disconcerting; today they are scarcely noticed. Nothing erodes fasterthan the feeling of transgression. On the narratologicallevel as on thethemat ic level, gradua list or, as Thomas Pavel says, integra tionis t attitudes seem to me more realistic than any form of segregation.

    44 For a different approach to the question, see Michel Mathieu-Colas,Recit et verite, Poetique 80 (November 1989), 387-403.

    84

    STYLE AND SIGNIFICATION

    he classic work by A. J Greimas and Joseph Courtes,Semiotics and Language: n Analytical Dictionary includes thisdeclaration in the chapter titled Style : The term style belongs to the realm of literary criticism, and it is difficult, if notimpossible, to define it semiotically. 1 Spurred by this challenge, I shall t y to sketch out a semiotic definition of stylehere. But since the semioticians have referred us to literaryscholars, I hurry off to find the recent Vocabulaire de la stylisti-que by Jean Mazaleyrat and Georges Molinie, where I read thedefinition: Style: the object of stylisticS. 2 I then rush aheadto find the definition of Stylistics : there is none.

    This presumably intentional abstention is not in itself aproblem for critical practice; quite the contrary: from Sainte-

    1 A J Greimas and Joseph Courtes, Semiotics and Language: n Analyti-cal Dictionary trans. Larry Crist et al. (BlOOmington: Indiana UniversityPress, 1982), 318.

    2 Jean Mazaleyrat and Georges Molinie, Vocabulaire de la stylistique(Paris: Presses Universitaires de France, 1989), 340.

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    LIST OF WORKS CONSULTED

    Antoine, Gerard. Stylistique des formes et stylistique des themes,ou Ie stylisticien face a l'ancienne et a la nouvelle critique. InLes chemins actuels de a critique ed. Georges Poulet. Paris: PIon,1967.Aristotle. The Poetics. Cambridge: Harvard University Press (LoebClassical Library), 1973.

    Austen, Jane. Pride and Prejudice. In The Complete Novels ofJane Austen2 vols. New York: Random House, 1950.Bachelard, Gaston. La poetique de a reverie 1960). Paris: Presses Uni-

    versitaires de France, 1965.Bally, Charles. Traite de stylistique franfaise. Stuttgart: Winter, 1909.Barthes, Roland. The Discourse of History 1967). In The Rustle of

    Language. New York: Hill and Wang, 1986.. Mythologies Selected and trans. Annette Lavers. New York:

    Noonday Press, 1972.. The Semiotic Challenge. Trans. Richard Howard. New York: Hill

    and Wang, 1988.. S/Z Trans. Richard Miller. New York: Hill and Wang, 1984.. Writing Degree Zero and Elements of Semiology. Trans. Annette

    Lavers and Colin Smith. Boston: Beacon Press, 1970.

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    LIST OF WORKS CONSULTED

    Searle, John. Expression and Meaning. Cambridge: Cambridge University Press, 1979.. Sens et expression. Preface by Joime Proust. Paris: Minuit, 1982.. Speech Acts: An Essay in the Philosophy of Language (1969). Lon-

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    don: Cambridge University Press, 1978.Smith, Barbara Herrnstein. Narrative Versions, Narrative Theories.Critical Inquiry 7 (Autumn 1980): 213- 36.. On the Margins of Discourse. Chicago: University of Chicago

    Press, 1978. .Spitzer, Leo. Stilstudien. Munich: M. Hueber, 1928.Stevenson, Charles L. On 'What Is a Poem?' Philosophical Review 46

    (July 1957): 328- 62.Strawson, P. F. Logico-Linguistic Papers. London: Methuen, 1971.Todorov, Tzvetan. The Notion of Literature. In Genres in Discourse.

    Trans. Catherine Porter. Cambridge: Cambridge University Press,1990.

    Urmson, J O. Fiction. American Philosophical Quarterly 13 (April1976: 153-57Valery, Paul. Oeuvres. Vol. 1. Paris: Gallimard (Pleiade), 1957

    Verlaine, Paul. Poemes saturniens. Paris: Garnier, 1958.Veyne, Paul. Did the Greeks Believe in Their Myths? An Essay on the

    Constitutive Imagination. Trans. Paula Wissing. Chicago: Universityof Chicago Press, 1988.

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    INDEX

    Adams, Henry, 71Aeneid (Virgil), 116, 129A la recherche du temps perdu(Proust), 34, 68Andromaque (Racine), 114, 116Anna Karenina (Tolstoi), 48-49Antoine, Gerard, 140-41Apollinaire, Guillaume, 78Arabian Nights 34 35Aristotle, 3, 21, 31, 48, 65, 103,

    114Poetics 6-8, 10, 11, 13, 15Astragale (Sarrazin), 68Aurelia (Nerval), 79Autobiography of Alice B. ToklasThe (Stein), 71-72Bachelard, Gaston, 109Bally, Charles, 86-89, 110, 122Balzac, Honore de, 33, 70-71, 112Facino Cane 74Medecin de campagne 73 74Pere Coriot Le 35, 71, 75

    Barthes, Roland, 17, 90, 107,128Writing Degree Zero 125-26Batteux, Abbe, 11, 12, 15Baudelaire, Charles, 139Beardsley, Monroe, 133Beckett, Samuel, 32Beyle, Henri, 92Boileau, Nicolas, 128-29Borges, Jorge Luis, 72EI Aleph, 74-77Borrowings/exchanges, narrative,

    79 -84Bourgeois genti/homme Le(Moliere), 88Bramante, Donato, 112Brecht, Bertolt, 32Bred, Edouard, 68Breton, Andre, 116-19Nadja 79Britannicus (Racine), 19Buffon, Georges Louis Leclerc de,

    138149

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