Acknowledgments.

Introduction: James Phelan (Ohio State University) and Peter J. Rabinowitz (Hamilton College).

PROLOGUE:.

1. Histories of Narrative Theory (I):A Genealogy of Early Developments: David Herman (Ohio State University).

2. Histories of Narrative Theory (II): From Structuralism to the Present: Monika Fludernik (University of Freiburg).

3. Ghosts and Monsters: On the (Im)Possibility of Narrating the History of Narrative Theory: Brian McHale (Ohio State University).

PART I: NEW LIGHT ON STUBBORN PROBLEMS:.

4. Resurrection of the Implied Author: Why Bother? Wayne C. Booth (University of Chicago).

5. Reconceptualizing Unreliable Narration: Synthesizing Cognitive and Rhetorical Approaches: Ansgar F. Nünning (Justus-Liebig-University of Giessen).

6. Authorial Rhetoric, Narratorial (Un)Reliability, Divergent Readings: Tolstoy’s Kreutzer Sonata: Tamar Yacobi (Tel-Aviv University).

7. Henry James and “Focalization,” or Why James Loves Gyp: J. Hillis Miller (University of California at Irvine).

8. What Narratology and Stylistics Can Do for Each Other: Dan Shen (Peking [Beijing] University).

9. The Pragmatics of Narrative Fiction: Richard Walsh (University of York).

PART II: REVISIONS AND INNOVATIONS:.

10. Beyond the Poetics of Plot: Alternative Forms of Narrative Progression and the Multiple Trajectories of Ulysses: Brian Richardson (University of Maryland).

11. They Shoot Tigers, Don’t They?: Path and Counterpoint in The Long Goodbye: Peter J. Rabinowitz (Hamilton College).

12. Spatial Poetics and Arundhati Roy’s The God of Small Things: Susan Stanford Friedman (University of Wisconsin-Madison).

13. The “I” of the Beholder: Equivocal Attachments and the Limits of Structuralist Narratology: Susan S. Lanser (Brandeis University).

14. Neonarrative; or, How to Render the Unnarratable in Realist Fiction and Contemporary Film: Robyn R. Warhol (University of Vermont).

15. Self-Consciousness as a Narrative Feature and Force: Tellers vs. Informants in Generic Design: Meir Sternberg (Tel-Aviv University).

16. Effects of Sequence, Embedding, and Ekphrasis in Poe’s “The Oval Portrait”: Emma Kafalenos (Washington University in St. Louis).

17. Mrs. Dalloway’s Progeny: The Hours as Second-Degree Narrative: Seymour Chatman (University of California, Berkeley).

PART III: NARRATIVE FORM AND ITS RELATIONSHIP TO HISTORY, POLITICS, AND ETHICS:.

18. Genre, Repetition, Temporal Order:Some Aspects of Biblical Narratology: David H. Richter (City University of New York).

19. Why Won’t Our Terms Stay Put?: The Narrative Communication Diagram Scrutinized and Historicized: Harry E. Shaw (Cornell University).

20. Gender and History in Narrative Theory: The Problem of Retrospective Distance in David Copperfield and Bleak House: Alison Case (Williams College).

21. Narrative Judgments and the Rhetorical Theory of Narrative: Ian McEwan’s Atonement: James Phelan (Ohio State University).

22. The Changing Faces of Mount Rushmore: Collective Portraiture and Participatory National Heritage: Alison Booth (University of Virginia).

23. The Trouble with Autobiography: Cautionary Notes for Narrative Theorists: Sidonie Smith (University of Michigan) and Julia Watson (Ohio State University).

24. On a Postcolonial Narratology: Gerald Prince (University of Pennsylvania).

25. Modernist Soundscapes and the Intelligent Ear: An Approach to Narrative Through Auditory Perception: Melba Cuddy-Keane (University of Toronto).

26. In Two Voices, or: Whose Life/Death/Story Is It, Anyway? Shlomith Rimmon-Kenan (Hebrew University of Jerusalem).

PART IV: BEYOND LITERARY NARRATIVE:.

27. Narrative in and of the Law: Peter Brooks (University of Virginia).

28. Second Nature, Cinematic Narrative, the Historical Subject, and Russian Ark: Alan Nadel (Rensselaer Polytechnic Institute).

29. Narrativizing the End: Death and Opera: Linda Hutcheon (University of Toronto) and Michael Hutcheon (University of Toronto).

30. Music and/as Cine-Narrative or: Ceci n’est pas un leitmotif:Royal S. Brown (City University of New York).

31. Classical Instrumental Music and Narrative: Fred E. Maus (University of Virginia).

32. “I’m Spartacus!”: Catherine Gunther Kodat (Hamilton College).

33. Shards of a History of Performance Art: Pollock and Namuth Through a Glass, Darkly: Peggy Phelan (Stanford University).

EPILOGUE.

34. Narrative and Digitality: Learning to Think With the Medium: Marie-Laure Ryan (author).

35. The Future of All Narrative Futures: H. Porter Abbott (University of California, Santa Barbara).

Glossary.

Index