Dan Shen's Rhetorical Narratology and Umberto Eco's Semiotic Theory of Interpretation

Every reader, listener, or viewer of stories, from the most casual to critically attuned, intuits that between lines under surface narrated incidents there lies unspoken information and meanings various kinds, scopes, pertinence, accessibility cannot be ignored. “Goldilocks Three Bears” tells us something more than story a little girl who wanders into Bear family's house, tastes their porridge, sits in chairs, sleeps beds. And Umberto Eco once asked: “Is Oedipus Rex detection, incest, parricide?” (Role 28).Dan Shen addresses such issues with an emphasis on “covert progression,” narrative movement paralleling plot development has previously been neglected. I will first discuss characteristics Shen's rhetorical narratology some its relations James Phelan's dynamics, structuralist poetics, Paul Ricoeur's hermeneutic investigation plot. then suggest how might extended by drawing Eco's semiotic theory interpretation.Covert progression is outgrowth influential notion progression, critical broader principle dynamics: ‘narrative progression’ identifies as synthesis two dynamic systems, one governing narrative's internal logic it unfolds beginning through middle end [instabilities tensions, textual dynamics], other developing interests responses audience unfolding [readerly dynamics]. (“Narrative” 359)1 As for Shen, she concerned class narratives contain, behind overt (with instabilities, trajectory readerly responses), parallel covert triggered elements often prove recalcitrant principal storyline. Key detecting stylistic analysis conjunction narratological (“Narratology Stylistics”; see also Pier). Methodologically, approach not only integrates principles practice but takes consideration certain details sociohistorical import, knowledge relevant biographical historical may crucial tracing down (Style Rhetoric 16–20, “Contextual,” “Contextualized Poetics”). By expanding model include attention movement, seeks achieve comprehensive shared reading individual works, thus enter fully position authorial audience.2The forms progression—overt covert—mark subtle significant departure terms “story” “discourse.” Although written discourse (“Defence,” “Story”), her point reference remains “instabilities” among characters (in lieu story) “tensions” authors, narrators, readers discourse)—features groups together “plot development.” The addition results complication both dynamics (“Dual Textual”).One problems plagued structural was question plot, parent pauvre early work field. For reasons too elaborate detail here, very word “plot” either left out story/discourse paradigm, assimilated discourse, likened sequence-like structures. It Temps et récit (1983–1985) addressed directly, although this within rather framework. In his Aristotle's Poetics, Ricoeur3 stressed close relation mûthos (“plot”), “structure events” (50a5),4 mimèsis, “an imitation men life, action” (50a16); this, aporias temporality subject historiographic fictional narrative, led him render mise en intrigue (“emplotment”).5 According conception, dialectics poetic composition consists temporal discordance concordance (atemporal completeness, totality, appropriate length) mûthos, structuring events; confrontation mimèsis tension generated. “discordant concordance” salient, “simple” (episodic) plots “complex” (peplegmenos: interwoven, intricate) plots, which “reversal” (metabolè) continuous throughout, supported “peripety” (peripeteia) and/or “recognition” (anagnôrisis), neither present simple (52a12–52b13).Phelan's progression,6 contrast, (1) equates holos (“whole”) (50b26) putting accent end, demands necessity (ananké) probability (hôs epi polu) (51a14) (2) incorporates responses, heir tragic pity (pathos) fear (phobos) (53a4–6). follows Phelan investigating (instabilities-complications-resolution), narratorial (tensions implied author, narrator, focalizer, audience), readers' dynamics. addition, “dual dynamics” (Shen, “‘Covert Progression’,” “Dual Textual,” Narrative”).In light distinction complex tempted argue operates while peripety provokes subversion recognition generates supplementation. This case, however, analyses show. Kate Chopin's “Désirée's Baby,” instance, generally interpreted anti-racist, scrutiny reveals undercurrent racist attitudes 70–94), thereby setting up process dual dynamics—not twist reversal, peripety, are properties itself.The goal target essay extend accompanying From perspective, become “two trajectories signification” come conflict. essential these trajectories, “contradict, condition, complement another,” taken account, if they not, reader fail gain “a fuller balanced picture thematic significance text” (“Joint Functioning” 126). A case Ambrose Bierce's “A Horseman Sky,” whose centers cruelty inhumanity war embodied Unionist soldier's killing own father, Confederate soldier, focuses instead paramount importance carrying one's duty Functioning”). Unlike about whether parricide, develops contrastive meaning built interaction trajectories.As witnessed examples, narratology, signification hinges largely interpretation. invites reflection treatment interpretation relate approaches subject. would like consider here Confronting surprising at sight, writings topic stem text set conceptual methodological framework bears resemblance concerns theory. Yet number tentative though potentially fruitful points comparison deserve consideration.Eco distinguishes semantic (or semiosic) revealed Linear Text Interpretation discursive level, born reading, critical) interpretation, result metalinguistic activity, product subsequent readings. At same time, dialectical link maintained intentio operis lectoris (Limits 54–60). Moreover, texts open interpretation: emanating inferential quality sign, conjectural nature.7 “The text,” writes Eco, “is nothing else semantic-pragmatic production Model Reader” 10). Reader understood “ideal” real summoned emulate, “interpretative cooperation,” is, “textual strategy system instructions aiming (sic) producing possible profile designed [and that] can extrapolated described independently even before any empirical reading” 52) (cf. audience). “since intention basically produce able make conjectures it, initiative figuring Author that, coincides (59) author).The Eco's, comparable points, translatable another. due fact, all, general “rhetorical experience narrative” (Phelan, Experiencing), augmented poetics closed versus (Eco, Opera, Role 47–66, 175–99, Limits), theory.The authors wish comment gravitates around When contains signaling runs sometimes counter development, channels communication occur simultaneously audiences Narratives”). speak “recalcitrance” sorts semiotics, feature order does resolve itself concepts employed Eco. Rather, reflexive metanarrative.This illustrated study Alain Allais's Un drame bien parisien (1890). Titled “Lector Fabula: Pragmatic Strategy Metanarrative Text” 200–266), highlights “verbal trompe-l'oeil” first-time, naïve “one-dimensional reader” lured Aristotelian “interpreted” second-time (critical) (successive readings, simultaneous). structures Drame contain mutually irreducible fabulae topics, adultery, misunderstanding, ultimately proved disproved have place.8 Led unawares paths having adopted culturally induced false hypothesis, nearing finds himself “completely jammed…. Allais fill contradictory information, cooperating stand” (205–6). To understand trap fallen, go back step step, scrutinizing states observe, role “Meta” Reader, “reproduce[s] [its] logical structures” (256). three “stories” traced short each character(s): “the what happens dramatis personae, [or metanarrative] text.” adventures Readers,” critical, metanarrative clashes reminding “any time interpretative procedures” (205).The perspectives semiotic, explore adequately appreciated when adhering achieves nuanced account undercurrents movements. whom cue craftily show pitted against another, upending normally constituted beginning, middle, end. Recognizing linear reader's cooperation disabused, proceeds rereading; turns out, “both types inscribed strategy…. … kind postulates” Ultimately metatext,9Drame projects versions (naïve do correspond personae acts undertaken them, subjects metanarrative, protagonists operate sense, seems space, implicit calls further investigation.