, and the Theory of Possible Worlds.
In this monograph Richardson boldly challenges some distinguished theorists, such as Tzvetan Todorov, Gerald Genette, Vladimir Propp, David Herman, Gerald Prince, and James Phelan, just to name a few; he then creatively reimagines certain core narrative terms or concepts including narration, fabula and syuzhet, narrator, narrativity, character, space, sequence, consistency, fictionality
, fictional minds, reader, and narrative beginnings and endings, etcetera from an unnatural perspective.
His argument that myth is not merely an Aristotelian mythos as radically different from logos, but is also transformed to a logos, posed the question: Can this transformation retain the fictionality
thus may be most accurately described as both ludic (partaking of that refusal to affirm inherent in Kantian disinterestedness), and also rhetorical, for it may, in some circumstances, dispose of the amoral power, in Nietzschean terms, to "create ethical codes [and] also discard them at will" (29).
The first two essays in the collection then situate fictionality
in broad theoretical contexts.
The "novel" is a questionable genre to depict national "unity" if it is seen as essentially self-critical, and the self-conscious fictionality
Hampton finds in certain texts hardly "resolves" tensions, as he claims, as it is inherently unstable and raises questions for the identity of its self and of the nation it supposedly reflects.
Austin's theory of performative speech acts, fictionality
has been seen as a threat for as long as there have been critical debates about literature.
Far more than More and Plato, Joyce foregrounds fictionality
, denying the reader a comfortable seat from which to follow any narrative continuity.
Megill offers four postulates: (1) the multiplicity postulate: "Never assume that there is a single authorized historical method or subject matter"; (2) the hybridization postulate: "Always establish residences outside the discipline," meaning that historians should cross boundaries to borrow insights from other disciplines but not eliminate those boundaries; (3) the fictionality
postulate: "Always confront, in an explicit way, the fictionality
implicit in all works of history," though he correctly notes that history/fiction dualism has limited analytical value and is prone to polemical abuse; (4) the theory postulate: "Always theorize," which is a way to awaken universal interest in a world that no longer believes in universal history (168-71).
She concludes that "Nick [Adams] brings reality and fictionality
together and blurs traditional distinctions between fact and fiction by forcing the reader, who reads the book a fictional character wrote, to participate in his fictional world" (144).
Essential to the distinction between art and science is the element of fictionality
always present in the work of art.
A more formal introduction that adds to the atmosphere of fictionality
in this part of the play is Time's prologue.