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<TABLE CELLSPACING=0 CELLPADDING=0><TR><TD>Foreword</TD><TD WIDTH=40></TD><TD VALIGN=TOP>vii</TD><TD></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>The Value of Narrativity in the Representation of Reality</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>1</TD><TD VALIGN=TOP>(24)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>Hayden White</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>Narration in the Psychoanalytic Dialogue</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>25</TD><TD VALIGN=TOP>(26)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>Roy Schafer</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>The Law of Genre</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>51</TD><TD VALIGN=TOP>(28)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>Jacques Derrida</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>Secrets and Narrative Sequence</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>79</TD><TD VALIGN=TOP>(20)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>Frank Kermode</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>Twisted Tales; or, Story, Study, and Symphony</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>99</TD><TD VALIGN=TOP>(18)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>Nelson Goodman</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>What Novels Can Do That Films Can't (and Vice Versa)</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>117</TD><TD VALIGN=TOP>(20)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>Seymour Chatman</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>Social Dramas and Stories about Them</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>137</TD><TD VALIGN=TOP>(28)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>Victor Turner</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>Narrative Time</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>165</TD><TD VALIGN=TOP>(22)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>Paul Ricoeur</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>It Was a Dark and Stormy Night; or, Why Are We Huddling about the Campfire?</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>187</TD><TD VALIGN=TOP>(80)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>Ursula K. Le Guin</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD>AFTERTHOUGHTS ON NARRATIVE</TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>On the How, What, and Why of Narrative</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>197</TD><TD VALIGN=TOP>(3)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>Paul Hernadi</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Language, Narrative, and Anti-Narrative</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>200</TD><TD VALIGN=TOP>(9)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>Robert Scholes</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Narrative Versions, Narrative Theories</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>209</TD><TD VALIGN=TOP>(24)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>Barbara Herrnstein Smith</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD>CRITICAL RESPONSE</TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Everyman His or Her Own Annalist</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>233</TD><TD VALIGN=TOP>(7)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>Louis O. Mink</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>``The Otherwise Unnoteworthy Year 711'': A Reply to Hayden White</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>240</TD><TD VALIGN=TOP>(9)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>Marilyn Robinson Waldman</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>The Narrativization of Real Events</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>249</TD><TD VALIGN=TOP>(6)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>Hayden White</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>The Telling and the Told</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>255</TD><TD VALIGN=TOP>(3)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>Nelson Goodman</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Reply to Barbara Herrnstein Smith</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>258</TD><TD VALIGN=TOP>(9)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>Seymour Chatman</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD>Index</TD><TD WIDTH=40></TD><TD VALIGN=TOP>267</TD><TD></TD></TR></TABLE>

Essays examine the way stories are told, understood, and used to represent and make sense of the world

On narrative