The Short Universal Narrative:

Keeping the reader's attention in a permanent way, during the thread of

Telling a story is a constant challenge for the narrator. To achieve sustained tension.
it has to resort to argumentative resources, which make the story present
situations that can occur abruptly and unexpectedly. Episodes
deeply human places where, frequently, among others, the
injustice, death or love. Facts that suddenly change the order
normal of life, of one or several social actors or of a community.
There necessarily have to be characters that help the story.
market, and characters that oppose the usual development of the
events for the dramatic action to take place. But, to maintain that
constant attention also obeys the mastery of the writer in the handling of
the language, in its ability to combine words and to use the
literary resources.

THE SHORT NARRATIVE

1. THE NARRATIVE SHORT STORY THE MYTH THE LEGEND THE FABLE

2. Definition: They are prose narratives of imaginary events. Types: 1.-

Popular tales: They are anonymous and are transmitted orally from generation
in generation. 2.-Literary tales: Their author is known and they are transmitted through
written. Characteristic elements: Elements such as usually appear like a
cave, a forest, some magical object, an evil character and a benefactor.
Some characters have to go through some trials imposed on them by the
parents or a king.

3. Definition: They are narratives of imaginary events featuring

gods and heroes. They are usually

4. use to explain the origins and mysteries of the world. Mythologies more
prominent in Western Greek, Roman, Hebrew, and Egyptian.

5. Definition: They are literary narratives related to places, characters and

real events in which fantastic or marvelous elements appear.
Tipos: 1.-De personajes históricos. 2.-Sobre el origen de un lugar, monumento o
geographical accident 3.- About the name or the circumstances of a person

6. Definition: They are brief narratives featuring animals almost always.

and from which a moral lesson or moral can be deduced. In them there
they review the virtues and defects of human beings
Importance of narrative

The Universal Narrative plays a very important role within

humanity, since the very act of being narrative, a word derived from
narrate, let this one tell us different things
events, facts, occurrences and the like, that is to say, that narrating will lead us to
allow telling stories, informing about something specific, in summary, what we
it mainly allows us to communicate in different ways, whether
written, oral, by telephone, via television, radio, etc.

Hence, Universal Narrative is of great importance, as it involves

everyone, for this reason it is given the designation of Universal, because
involves all the people who are within the composition of the
Universe, that is, World.

Narrative

For the qualitative method, see narrative production.

Narrative is a fundamental or archigeneric literary genre (it is present

in all cultures and at all times) written or oral, with derivations
formal audiovisual techniques (storytelling in comics, cinematography,
radio soap opera, soap opera, television series, video game, infographic), which, in its
classic form, collects a series of facts presented or explained by a
narrator (if he didn't present them, but they happened without mediation, it would be
directly theater or dramatic genre), that happen to one or more characters
who are the ones that carry out the actions. It has numerous subgenres, among the
which especially highlight the epic, the novel, and the short story.

Index [hide]

1 Features

2 Subgenres and modalities

3 Components

4 Narrative models

4.1 Communicational Model

4.2 Semiological model

4.3 Actantial Model

4.4 Pragmatic model

5 References

Characteristics

In pure narrative, the third person (he, she, it, they, them) usually dominates.
although there is also a less pure version in the second person (epistolary novel) or in
first (picaresque novel, false autobiography) or mixed (for example, Death
by Artemio Cruz by Carlos Fuentes, a novel written in the first, second and
third persons). In it, past or pretérite verb tenses dominate.
(especially the perfect ones, as they are the ones that drive the action forward, although
also the imperfects, which evoke or describe it), in it the author usually
hiding under the mask of a narrator of different types (participant,
omniscient, etc.) and has a fairly long length, generally. Its
shape and structure are protean and very changeable: it tends to encompass also
other genres (in Don Quixote by Miguel de Cervantes and in The Tale of Genji
by Murasaki Shikibu, the first modern novels of the West and the East
each one, there are quasi-theatrical dialogues, speeches, poems, monologues, others
intercalated narratives

Narrative is often written in prose, as narrative focuses on

in the concrete facts that are described, although it can also be done
in verse; in this second case, the long verse is generally preferred:
shloka (Mahabharata, Ramayana Hindus), hexameter (the Iliad and the Odyssey of)
Greek Homer, the Aeneid of the Latin Virgil...), Alexandrine (Miracles of Our
Lady, from the Spanish Gonzalo de Berceo), hendecasyllable (La Araucana, by Alonso
from Ercilla...). More exceptionally, minor art can be used (Martín Fierro,
by José Hernández

The author may or may not be directly involved in the work. If it is about a
story or novel, the story is imaginary (fictional) and, in the case of a
chronicle, it is about a true story.

The narrative paradigm, according to Walter Fisher, refers to all

"meaningful communication" that reinforces the experience and sees this
communication in the form of a story.
The narrative circulates through culture as valid and culture facilitates its validation.
It allows to interpret, structure, and organize everyday life.

Subgenres and modalities

The narrative encompasses subgenres such as epic, the song of deeds,

heroic poem, the novel, the short story, the legend, the tale
traditional, the myth, the fable, the romance, and all kinds of stories in general or in
concrete.

When talking about narrative, it is important to emphasize that the term encompasses
other fields besides the literary, such as audiovisual (video games,
television, cinema, and multimedia resources.

Components[edit]

A narrative consists of several elements:

Narrator who presents and organizes the facts and characters, and who can be
exterior or interior to the story, or even unnamed and with the ability to
to know the thoughts and feelings of the characters (the so-called narrator
omniscient)

Characters: people (not necessarily human) who perform the actions

that are described. In literature, it is common for them to also describe the
characters' feelings before the events.

Plot or storyline: sequence of events, adventures or episodes that occur

to the characters. The description is not necessarily linear in time,
existing figures such as analepsis and racconto.

Setting: social, political, moral context (customs, values) and

spatiotemporal (chronotope) in which the characters are immersed.

Theme: the subject of what the work is about or what can be inferred from its plot. Sometimes
it appears complicated or mixed with various subtopics or minor themes.
Examples of them are general facts (life, death, search), feelings
(felicidad, tristeza, miedo, culpa, vergüenza, placer, dolor, venganza) y valores
(justice, forgiveness, honor, respect, sacrifice, struggle, freedom). The theme and the
Subtopics are formulated with a single sentence.
Style: artistic characteristics of the work: type of language, literary genre,
respected or broken conventions, artist's personality, expressiveness,
originality, intention...

Narrative models

Regarding narrative analysis, J. García's proposal is interesting.

Jiménez (1993) of different models.

Communication model

This model is based on considering the narrative phenomenon as a type

particular of the communicative process. Within this process, the narnicational
that establishes a demand requires an interpretation that imposes a
communication/signification in which both people (narrator and narratee)
they share the codes, whether it be the linguistic, narrative, or semantic code -
pragmatic, on which the narrative or story is based.

The narrator is the one who is in charge of narrating the story, about a fictional world and
a sequence of events, places, and characters, over a specific period of time
time. It plays an intermediary role between the public and the facts.

It is possible to differentiate between the following types of narrators:

When the narrator speaks in the first person, it is known as

narrator character and is participant in the story he narrates.

The witness/objective narrator recounts the events in the third person with character.
of the observer.

The omniscient narrator is the one who speaks in the third person, knows the
feelings and thoughts of the characters in addition to the events.

Semiological model

The semiological model starts from the methodological premise that "everything that
There exists a significant dialectic and consequently, text, pure text.
analysis is guided by a subjective rationality that delves into certain
features and does not aim for a finished and complete study. This model is very rich
and exhaustive in the study of the aspect it focuses on, which must be homogeneous,
reason why it is very difficult to be applied in audiovisual narratives.
Actantial model

This model follows Propp's logic and maintains that there are universal forms.
to organize the narration or 'supra-narratives' and thus analyze migrations of
narrative reasons. However, this model also deviates from logic
proppiana as it refers to not considering the number of functions
narratives but focuses on the analysis of the deep structures of the story.
The proposal by Greimas is interesting, as he proposes a model of analysis.
of the narrative based on the actors: in this sense, it is a semiotic model
communicational and emphasizes the roles that the characters represent
within a narrative. It is mentioned that the actor can be a man, a
animal, a cup or any figure, that mixes with the function that
represents within the narrative highlighting the actor.

So far, these models emerge from analogical and deductive thinking. In

change, there is another model that has a different logic:

Pragmatic model

This model follows an inductive logic and is based on the analysis of the texts
narratives to infer the significant indicators and the criteria that
enable the construction of observable facts. This model, although it assumes
the contributions of the previous models, proposes better strategies than the
elaborated by the semiological model for the analysis of discourses
narratives:

It is not limited to the 'grammar of history' and considers as factors

the context and the pragmatic dimension of the discourse are essential.

In the case of the narrative covered from the audiovisual realm, for example,
the sociopolitical context in which technologies emerge
information and the pragmatic dimension of the narrative discourse that is generated
under these environments.

The pragmatic model of analysis represents a particular type of organization.

discourse that argues that the narrative act can be analyzed in a way
intuitive. It basically includes the poetic dimension, since, although rhetoric
they constantly transgress them since
narrating implies freedom. Therefore, it is closer to discourse than to
story outline.

Different authors provide observations related to these models:

Jean-Paul Sartre says that the narrative phenomenon is the encounter and at the same time the
collision of two free acts: creation and recreational consumption, meeting that
It is both for the author and the reader a playful experience.

Julia Kristeva proposes to reconstruct the generation of systems of signification.

beyond the view that everything has an explicit rationality. Supporting itself
in Semiotics, Kristeva highlights the subject as generator, as author, who
unconsciously expresses itself through texts. Culture is not limited to
formalizations is neither strictly a "hallucinatory satisfaction" of desire:
it is both singular and plural, aesthetic enjoyment and expressive drive. Kristeva analyzes
the narrativity, the semantic universe, and the pulsional space. Instead,

Lévi Strauss focuses on deepening the semantic aspect of the narrative.

Universal Narrative

LITERATURE
Miranda 11-1 jt CAMM 2010

2. UNIVERSAL NARRATIVE …<br />It is a literary genre that tells or narrates

one or several actions and is governed by the following laws:<br /><ul><li>LAW
OF UNIT: looks for a theme that can sometimes be the character, the place or
the action. LEY DEL MOVIMIENTO: a narration not
it is fixed but moves, and it is when the initiation of the knot and the denouement occurs.

3. LAW OF CURIOSITY: it is to awaken the reader's attention (it envelops and

awakes curiosity to the point of wanting to finish).</li></li></ul><li><ul><li>LAW
ABOUT UNIVERSALITY: The characters do not belong to a place.
specific but to the human being in general with psychological characteristics.
LAW OF TRUTH: everything narrated is based on a reality that the
author transforms through their style (everything that is narrated)
it happened).</li></li></ul><li>The universal narrative is expressed through
different forms like the following:<br /><ul><li>THE FABLE: it is a
a brief narrative whose characters are almost always animals that use the
personification through dialogue and in the end they leave a
teaching.</li></li></ul><li><ul><li>APOLOGUE: it is an allegorical narration,
that is to say, it relates to something, whose characters are almost always beings
humans who handle a moralizing trend and an erudite language or
cult

4. PARABLE: it is a narrative with religious application and is based on

real events.</li></li></ul><li>NOVEL OF THE 19TH CENTURY<br
HISTORICAL CONTEXT: The 19th century was a very turbulent period in the
socio-political aspect, but very productive in the sciences and the arts. The classes
conservatives defended their privileges and liberals aimed to abolish them, it is
just as two political movements appear, socialism and liberalism.
/>

5. SOCIALISM<br />It was based on the ideas of Karl Marx with his
socialist doctrine demanded power for the workers, these ideas
were defended in the Paris Commune in 1848 and later triumph in
the Russian Revolution of 1919.

6. LIBERALISM<br />It was based on the ideas that were promulgated in the
French Revolution (liberty, equality, and fraternity) and that established the foundations of
the democracy.

7. LITERARY CONTEXT<br />The beginning of 19th-century romanticism is

goes back to STUMER (European movement) where some poets who
They admired Homer and Shakespeare, the desolate, gloomy, and wild places.
they proclaim the ideas of freedom.

8. Romanticism is defined as a set of intellectual movements.

that from the late eighteenth century they make sentiment prevail over the
reason and imagination over critical analysis.<br /> AUTHORS
GERMANS:<br />-FREDERICK SCHILLER with works such as: <br />the song of the
bell<br />GuillermoTell.<br />

9. ENGLISH AUTHORS:<br /><ul><li>Sir WALTER SCOTT with works

like:</li></ul>Iván Hoe<br /><ul><li>CHARLES DICKENS with works
like:</li></ul>the Christmas song.<br />David Copperfield.<br />Oliver
Twist.

Characteristics of narrative

1. Characteristics of narrative<br />Short Narrative September 1,

2011 Mari Carmen Orea Rojas

2. Características generales<br /><ul><li>Prosa, no verso

3. Novela, cuento, mito, leyenda, epopeya, fábula

4. Oral, written, image

5. Fantastic narrative with literary characteristics (rhetoric, poetry)

6. Content: fictional stories

7. Purpose: credibility, not truthfulness</li></li></ul><li>Modes

narration: transmission of a sequence of
events in a time that advances.

Dialogue: representation of verbal interactions between the characters.

9. Description: linguistic representation of states and processes, according to

a point of view.</li></li></ul><li>General structure or…<br
Approach: it offers the framework for action and presentation
characters.

10. Development: presents the climax or moment of greatest tension.

11. Outcome: the conflict is resolved and a situation different from the
initial.

12. ... Narrative Syntax<br /><ul><li>Inauguration (indicates a behavior that

it is possible to observe, or an event that can be anticipated

13. Realization (brings to reality the virtuality that was initially proposed,
that is to say, it turns it into an act)

14. Closure (closes the process and constitutes the result achieved by the
These aspects are determined by the author's style.
(according to structural analysis)

15. Niveles de análisis:<br />Nivel de la historia<br />Nivel de las acciones<br

Level of functions
/>

16. Level of the actions<br />Level of the story<br />

17. Characters <br />According to the level of closeness to the actions and conflict of
story
<br />

18.

19. Level of actions<br />According to Greimas<br />The characters of the story

they should not be the only protagonists of this. <br />Sometimes things
immaterial things like Destiny, or Fatality, or even animals and objects are
fundamentals for the development of the work. <br />But they cannot be called
exactly characters.<br />So Greimas thought of a term that
it will denote that they are very important for the story, almost as if they were
characters, but they are also fundamental forces of development in the text
for him.

20. Actants

21.

22.

23.

24.

25. Create a schema of actants for a cartoon or movie

Level of the functions

27. Level of functions<br />They are also called units of meaning:

functional character of various segments of the narrated history.<br />a)
Distributional units: they refer to facts, purely.
Cardinal functions: these are the functions that manifest in the
elements that are chosen to make the summary in 10. They are very moments
important factors of the narration that determine it.<br />Catalysis functions:
they are complementary moments of the narrative.<br />b) Units
integrators<br />Clues: they refer to character, to feeling, to a
atmosphere, a philosophy or way of thinking about the world.
Information: they are used to situate oneself in time and space.

28. Cardinal distribution functions: Shrek<br />He lives happily in the

swamp<br />Fairy tale characters invade it.<br />Shrek tries
to talk to Lord Farquaad he meets Donkey<br />Farquaad sends him for
Fiona<br />Shrek rescues Fiona<br />

29. Shrek and Fiona fall in love<br />Fiona is an ogre<br />Shrek delivers to
Fiona<br />Shrek decide rescatar a Fiona<br />Shrek y Fiona se casan<br />

30. Distributional functions of catalysis<br />Shrek hates Donkey

meet him.<br />Shrek confronts the dragon that guards Fiona<br />Farquaad
torture to Ginger

31. Unidades integradoras: indicios<br />Shrek se baña en lodo<br />Fiona

faces Robin Hood

32. Integrative units: information<br />The clothing, the castle,

swamp, they make it known that it is about the Middle Ages
Elements of narrative

By: Cristhian Jiménez Bonilla.

2. It is the one who tells the story, and can be found in three forms in the texts:
Omniscient Narrator. Protagonist Narrator. Witness Narrator. 1) NARRATOR:

He knows everything about the actions and the characters, but does not participate in the play.
He narrates in third person. He is like a god of the work. a) Omniscient Narrator:

4. "Filled with astonishment and almost fear, Garcés saw a group of very beautiful
women..." (Legends, by Gustavo Adolfo Bécquer) Example of narrator
omniscient

5. It is the main character who narrates their own story, usually in

first person. b) Protagonist Narrator:

6. "I endured Fortunato's thousand insults as best as I could, but when

he went as far as to insult, I swore to take revenge" ("The Cask of Amontillado," by Edgar Allan
Poe). Example of a first-person narrator

7. He is a secondary character in the story: he tells a story that he witnessed or

what they have been told. Use the first and third person to narrate.
NarratorWitness:

I did not know the late José. However, I have such a vivid impression of him.
as if I had really known him. What is going to be known happened in lands
warmth of the Pacific. The mother of 'The Late José' (as she called him) told me.
thin and hardworking little Indian girl" (The late José, by Joaquin García Monge). Example
of the witness narrator:

9. They are the ones who carry out the actions of the story, and they can be divided into three.
Main (s) or protagonist (s). Secondary (s). Tertiary (s) or
reference(s). 2) Characters

10. The narrative revolves around this character. He is the most important of the
work, it can be one or several. a) Main character or protagonist:

11. Their participation in the events is limited, they have little involvement; and their
The relationship is very little with the main character(s). b) Character
secondary

12. He is only mentioned in the work, but does not appear in the actions.
narrated. c) Tertiary or referential character:

13. They are the places or moments where the work takes place. They can be of
various types: 3) Spaces:
14. Place where the events take place. a) Physical

15. "...At that time, my residence was located in the Paddington district,
due to which it didn't take me long to reach Baker Street.
As I suspected, he was sitting on his sofa, with his back against the wall,
wrapped in a maroon robe and with the right foot bandaged and extended
about a pile of cushions...
Arthur Conan Doyle) Example of physical space:

16. This space occurs in the minds of the characters, it has to do with the
memories that the narrator has about the events. They can also be dreams.
b) Psychological space:

I was walking down the street with long and careless strides, wearing a wide-brimmed hat.
wide, dark glasses and an air of indifference curving his back, as if
It will bear a weight that no one has been able to decipher accurately. It was
convinced of being the most recent incarnation of Greta Garbo. As it
he strengthened that idea in his mind, diligently shaping the forms of the body and
the lines of the face, so that the resemblance became undeniable..." (Greta,
by Emilia Macaya). Example of psychological space:

18. It relates to the themes of faith. It alludes to characters or events

religious people, no matter what religion it is. c) Religious Space:

19. "Clarisa wanted to see the Pontiff with her own eyes, so that it would not be to
show on the screen an actor with episcopal parameters, so that
I had to accompany her to cheer for him as he passed through the streets. After a couple of...
for hours defending ourselves from the crowd of believers and sellers of
candles, printed t-shirts, multicolor designs, and plastic saints, we achieved
to glimpse the Holy Father, magnificent inside a portable glass box,
like a white porpoise in its aquarium...” (Clarisa, by Isabel Allende).
Example of religious space:

It is based on showing the behaviors, attitudes, or actions of the characters, in

On occasion, it makes value judgments, categorizing some acts as goodness or evil.
d) Ethical or moral space:

21. "Of tall and slender stature, with large blue eyes veiled by thick
eyebrows, with an aquiline nose and a mouth from where not a single word ever came out
offensive phrase for nobody, Cañas practiced all the virtues, except one: the
marital fidelity..." (Elisa of the sea, by Arguello Mora). Example of space
ethical or moral:

22. It has to do with the characters' education, it also alludes to

educational institutions; and/or to the presence or absence of education of
environment or characters. e) Educational Space:
-Man! This boy is still too weak for the work. Is he the son
yours? -Yes, sir.-Well, you should have pity for his few years and before
bury it here send it to school for a while. -Sir -the voice stammered
miner’s street where an accent of painful plea vibrated-. We are six
at home and only one who works, Pablo is already eight years old and must earn
the bread he eats and, as a miner's son, his trade will be that of his elders, which
they never had another school but the mine…" (The Gate # 12, by
Baldomero Lillo). Example of educational space:

24. It deals with how the economy manifests itself through conditions and the
lives of the characters. It also references the social class to which
It belongs to one or several characters. f) Economic or social space:

25. "I come at your call to see if I can get a break for the payment
of my mortgage…" Example of social or economic space:

26. It alludes to the power structures that are manifested in the text.
It also obeys the hierarchies presented in the work. g) Space
Politician:

27. "But Prince Prospero was happy, intrepid, and shrewd. When his domains
they were left partially depopulated called to his side a thousand knights and ladies of his
he cut off, and withdrew with them to the secure enclosure of one of his abbeys
fortified...” (The Mask of the Red Death, by Edgar Allan Poe). Example of
political space

28. It refers to the relationship of the characters with nature. In this

space denounces the pollution and the damage done to the environment, and
The actions taken to preserve nature are also highlighted.
Ecological Space:

29. "And the wildlife?, The sea turtles that depend on the greens
slimy meals?, The mangrove?, The sponges of all colors, the algae?
The intoxicating scent of the flowers as the sun sets?...
Cristina Rossi). Example of ecological space:

30. It has to do with laws, regulations, and other instruments and people that
they are responsible for administering justice. i) Legal space:

31. "In the judicial bulletin No. 26 of the year XLIII it was published: "Juan Varela
Rabbit, older, single, laborer, neighbor of Santa Bárbara de Heredia,
report an empty lot...” (Juan Varela, from Adolfo Herrera). Example of space
legal

32. It refers to how the events unfold, which can happen in two ways:
Linear. Perturbed. 4) Sequential organization of the work:
33. The events are narrated from beginning to end, in a logical order. Example: "I got up
At 6 in the morning, half asleep, I had breakfast and by 6:30 I was
showering, at 7 I went to class and returned home at 4:30 in the afternoon...
a) Linear:

34. The normal order is altered, as it deprives the narrator's memory. For example: "I
I got up at 6 in the morning, half asleep, had breakfast and at 6:30 I...
I was showering and remembered that yesterday I found a very interesting book and
I stayed up reading it late. At 7 I went to class and forgot the homework that
they assigned us since last week, I returned home at 4:30
afternoon..." b) Disturbed:

35. Analyze the type of language used by the characters or the narrator,
It can be of various types: Cultured. Colloquial. Popular. Literary. Scientific or
technical. 5) Recording of speech or language:

It is the one that uses words from an elevated language, rarely used in
the everyday life. E.g.: 'I was invited to the exam in which my oratory piece was going to'
to have a conspicuous position...

37. It is the common and ordinary language, without introducing idiomatic expressions, nor does it use
very elevated or fine words. For example: "The old man took the little one by the hand and"
they entered the dark tunnel together. They were among the first to arrive and the
the mine's movement had not yet begun..." (The gate # 12, from
Baldomero Lillo). b) Colloquial language:

38. It is the language that is filled with idiomatic expressions specific to a country or a
region. It introduces phrases and popular sayings. Example: 'Only that there is'
I will go see it right now" (Stories, by Magón). c) Language
Popular:

It is the one that uses different stylistic resources such as metaphors, similes,
personifications, among others, is a language with poetic intent. Example: 'The
houses, across, whitewashed with moon lime, were wrinkled from pure
old. Sometimes, the fireflies would draw lines with luminous ink” (LaVentana,
by Carlos Salazar Herrera) d) Literary language

40. It is a language that refers to modern advancements, it is the

vocabulary of sciences and technology. Example: e) Scientific or technical:

41. It is the moment in which the work is developed. There are two kinds of
tiempo: A)Cronológico. B)Psicológico. Tiempo:

42. Narrate the natural order in which events occur. Examples:

That night we settled down to sleep in a corner of the church, behind
"from the dismantled altar". (Luvina, by Juan Rulfo). "It had been... seven years! that
I wanted to drink a glass of fresh and pure water from that resonant.
jug, because there... where he had been for so long, the water was warm and
salobre...” (The window, by Carlos Salazar Herrera) a) Chronological Time:

43. It is a time that occurs in the minds of the characters, it is presented by

medium of memories or dreams. Example: "But that feeling of rebellion
what was beginning to germinate in him was abruptly extinguished by the memory
from his poor home and the hungry and naked beings of which he was the
only support, and her old experience showed her the foolishness of her dream...
(The gate #12, by Baldomero Lillo). b) Psychological time:

44. It refers to the emotions or opinions of the narrator or a character.

about a given situation. 6) Appreciative code:

He was a resentful and vengeful Jew, like all those of his time.
Legends, by Gustavo Adolfo Bécquer Example:

It refers to the concrete historical moment in which the work arises, which influences
in it and determines it. 7) Relationship of the text with the context:

Universal narrative

Sent by shajy

May 1, 2011

252 Words

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1.-Definition of UNIVERSAL NARRATIVE

The narrative work is one in which a narrator, through an oral discourse

the written, tells a story, a text, oral or written expression that recounts, or
narrates an event: that is, presents a sequence of events (fictional or
true).
The modes of narrative elocution are dialogue (or spoken parts of the
narration), the description (or painting of places, people, feelings, ideas,
objects) and the actual narration (events subjected to
the passage of time.

2.- Background of the UNIVERSAL NARRATIVE

This has a close relationship with the epic, as it maintains similarity between the
elements that make them both.

Its origins date back to fables, myths, legends, and epic tales.

Initially, this genre does not appear within the literary classification due to
that its transmission is basically oral.

They appeared in Greece in the fourth century BC

3.- Characteristics of NARRATIVE

UNIVERSAL

It is a historical cultural document

Its objective is to narrate real or imaginary events in prose.

Facts based on real life.

Use the author's imagination.

It can be presented in an extensive or short form.

It has depth (ideas, thoughts, feelings, emotions) and form.

Identify elements of literary works.

It presents a figurative language.

4.- Classification of the UNIVERSAL NARRATIVE:

Novel

Fable

Legend

Myth

Tale

Tradition

5.- Elements of UNIVERSAL NARRATIVE:

Exhibition

Development

Suspended

Decisive point

Climax

Outcome

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1.-Definition of UNIVERSAL NARRATIVE

The narrative work is one in which a narrator, through an oral discourse
the writing recounts a story, a text, oral or written expression that tells, or
narrates an event: that is, it presents a sequence of events (fictional or
true).

The modes of narrative elocution are dialogue (or spoken parts of the

narration), the description (or painting of places, people, feelings, ideas,

objects) and the narration itself (events subjected to
passage of time.

2.- Background of the UNIVERSAL NARRATIVE

This has a close relationship with the epic, as it maintains similarity between the
elements that make them up both.

Its origins can be traced back to fables, myths, legends, and epic tales.

Initially, this genre does not appear within the literary classification due to
that its transmission is basically oral.

They appeared in Greece in the fourth century BC

3.- Characteristics of UNIVERSAL NARRATIVE

It is a cultural historical document.

Its objective is: to narrate in prose real or imaginary events.

Facts based on real life.

Use the author's imagination.

It can be presented in extensive or short form.

It has substance (ideas, thoughts, feelings, emotions) and form.

Identify elements of literary works.

It presents figurative language.

4.- Classification of UNIVERSAL NARRATIVE:

Novel

Fable

Legend

Mito

Story

Tradition

5.- Elements of UNIVERSAL NARRATIVE:

Exhibition

Development

Suspended

Decisive point

Climax

Outcome

READ THE COMPLETE DOCUMENT

Narrative

Narrative is the literary specialty that is dedicated to telling stories.

events and occurrences in different modalities. The main modalities are:
The tale, the novel, the legend, and the myth.

All these modalities have a common factor, which is the fact that
They narrate. The narration requires a beginning and an end and a sequence of the
actions over time, which constitute the narrative thread. Through the thread
narrative we follow the course of events that unfold through
two forms: description and narrative. The description offers us a profusion
of details about the described object or event.

The origins of narrative

The long narrative poem, the abundant amount of prose romances

and the French fabliaux flourished in Europe during the Middle Ages and their
content is fed by the memories told and transmitted through tradition
about the legendary heroes and their feats.

These works contributed to the development of what would later become the novel.
but that in this time does not have a name as a genre, and they are known as such
like a book. In India, during the Vedic period, the lyrical and legendary forms
they were at the service of the prayer or the display of the rituals, unlike
in the times of the Sanskrit period, in which the didactic, lyrical forms and
dramatic developments evolved far beyond their primitive state to another
of great literary, aesthetic, and moral purity.

The form and style of classical Sanskrit literature are generally

different from those of the Vedic. Classical Sanskrit used prose only
for scientific texts and grammar and philosophy, as well as stories, romances
and some plays in which he did not demonstrate a comparable evolution to
the one she had in the previous period, but rather the opposite, became more
increasingly difficult and populated with long and twisted constructions
rhetorics. The literature of the classical Sanskrit period was composed of
epic, dramatic, lyrical, and didactic poetry, and by didactic, dramatic prose and
narrative.
The narrative shows us that every person contains a world within themselves,
contains new...

And all of this is conveyed in stories of the life of a diversity of characters.

who live different stories in multiple scenarios.

In traditional tales, there are several characters that repeat, and

they fulfill similar missions in short narratives, with more or less the
same events. The contemporary story, on the other hand, can be
much shorter and deeper, with contemporary characters and events
very immediate. With a close or immediate beginning and end. In the world
magical creatures of fairy tales include goblins, gnomes, elves,
geniuses, goblins, trolls, dwarfs, banshees, sylphs, spirits, and undines. The
folkloric imagination does not conceive the land of fairies as a separate world,
but makes the goblins live in such common places as the hills,
trees or streams, and they also use clothes, ornaments, furniture, houses, and others
objects similar to those of humans.

Charles Perrault with his Mother Goose Tales was one of the first who
awakened interest in these topics. The translations of 'The Thousand and One Nights'
"nights" helped the development of this literary genre. Then, in the era of the
Romanticism, the Brothers Grimm appear, who made a compilation and
study of fairy tales from the European tradition in Stories for Children
families.

One of the oldest antecedents of the novel is the chivalric novel.

like Don Quixote of La Mancha and should be situated in the European dissemination, with great
Spanish influence, of three medieval epic cycles: the Arthurian, the Carolingian, and
the trojan. The chivalric moral code intertwines with the love code - the
the gentleman offers his companies to his lady -, and this explains the common points
between the chivalric novel and the sentimental novel. Mario Vargas Llosa a
Latin American novelist has currently studied the novels of
cavalries, to the point of stating that Colonel Buendía, from One Hundred Years of
solitude of Gabriel García Márquez, Nobel Prize in Literature, seems
descend from the chivalric crusades.

The Novel

In the novel, the narrative is much slower, the descriptions much more
complex, and the characters are well-developed with a lot of details, not only in their
physical appearance and their actions, but especially in their psychology.

The legend

In the legend, there is a narration similar to that of the tale but it can vary from
a version to another because it is transmitted orally by the people who
they recount, and are filled with details of the customs of the towns. It also has
magical elements similar to the tale. In legends, sometimes there is a
mix of real facts and fiction. The legend generally portrays a hero
human, as occurs in the case of the Iliad and the Odyssey (see Homer) or the
Aeneid (see Virgil). The stories that nourished it are also legendary.
many chivalric novels during the Middle Ages that have served as
source to writers of later periods: this is the case with the legend of the king
Arthur.

The myth

The myth is similar to the legend but uses more symbolic language to explain.
the origin of some elements of a culture. Myths explain according to the
popular tradition, how certain customs or rites originated. A legacy
important for Western culture is Greek mythology whose characters
they serve to illustrate examples of human behavior, these characters,
the Romans assigned different names to those of the Greeks.

Spanish 102B

Narrative elements

THE NARRATION

What is it?

The narration is a discourse (a text or oral or written expression) that tells, or

narrates an event: that is, it presents a sequence of events (fictional or
true): The action or events of the text.

Elementos de la narración: exposición, desarrollo, suspenso, punto decisivo,

climax and the resolution.

1. The presentation or statement of the issue. They are the necessary data to
understand the action of the work; for example, the description of the environment, a
explanation of the initial circumstance, the relationships between the characters, the
time and the place. It establishes the facts on which the action is based; it presents the
focus (the focus) or the theme (topic, problem, conflict, etc.), and presents the
protagonist.

2. The development (The complication / the explanation / the entanglement). It represents the
introduction of the very subject of the work, that is, the actions of the
characters and their motives. The main action and the tensions that arise are presented.
they are explained through the comments of the narrator and the
dialogue.

3. Suspense. It manifests in dramatic tension and is a kind of

anticipation of what is going to happen.

4. The turning point. It can be an action, a decision, or the

revelation of something that changes the direction of the work.

5. The climax (culminating point). It is the culminating moment, the result of

decisive point

6. The outcome (the resolution / the conclusion). presents the resolution of the
tensions / suggests a moral or thematic message / points to a
general or universal interpretation of the specific case presented in the
narration.

A narrative work can have a closed ending or an open ending.

A. The argument or the story (story/story line): in a narrative work the term
It refers to the narration of events in the order in which they occur.
The story can be simple and common (boy meets girl;
a boy "gets" a girl), or it can be complicated and original.

The author always structures the events or occurrences:

1. Chronologically: the events are narrated in the logical temporal order, in

straight line, from beginning to end.

2. Based on 'flashback' (returning to an earlier time). Sometimes the narrator

it goes back and forth a lot in time and the narrative structure is fragmented,
completely disorganized in terms of the temporal order.
B. Suspense is manifested in dramatic tension. With suspense, the
writer attempts to create dramatic tension to maintain the interest of
reader. It is a kind of 'mystery' that produces the structure of the action and the
selection of details: what the narrator tells us and what he does not tell us.

The style and the language are other ways to create suspense.

II. Point of view (narrator's perspective): Who speaks? The protagonist?

A secondary character? A witness or external observer?

Third person

Perspective (omniscient or limited) of the observer. It can know everything, or

You can only know part of what is happening.

First person

Participant or witness perspective: can observe what others do, or

can

observe and participate as a character. It can be a main character or

younger. Can know a lot or little. Can be reliable or
untrustworthy (we cannot "believe" what it says).

a) One aspect of this point of view is called "the stream of consciousness or

inner monologue." With this technique, the narrator places the reader inside the
mind of a character to allow the reader to 'see' the 'inner life' of the
character. In the narrative, this way of presenting information can help
to characterize the characters, advance the action, explain the action, establish
an environment or tone, create suspense, etc.
III. Characterization (Characters). Characters can be 'flat' or
rounded (complete and rounded, 'realists').

A 'flat' character is rather the symbolic representation of a 'type.

social," and we see it as a cardboard figure. We do not believe
much in him/her. We seek what it symbolizes: e.g. Don Lucas.

A "round" character displays a complex personality: we can

to psychoanalyze this 'real person.' What they do, think, say, and feel seems
truly human: e.g. Claudio. The narrative can reveal the character of a
character through: action (what he and others do); dialogue (the
what he and the others say); the 'interior monologue' (what the character thinks); the
description (its physical appearance and its environment [environment], which can
reveal information about their psychology), and even through style and the
language (the type of vocabulary it uses, the construction of its sentences, the
direct or poetic nature of their speaking, etc.).

IV. The style: it is the set of traits that characterize a genre, a work,
to a writer or to an era.

When we say of a work, for example, that 'its epic style is very
accused>>, we use the word style to refer to the set of traits
formal and internal elements that give character to the epic genre, as opposed to the lyrical or the
dramatic. When we talk about the style of Lazarillo de Tormes, we refer to its notes
distinctive, formal, and ideological, of the great novel, within prose
narrative of the 16th century or within the picaresque novel.

If we refer to the style of Jorge Luis Borges, we refer to the set of

traits that distinguish the illustrious writer from Buenos Aires from the rest of the writers
of their time. In this way, each writer has their own style, their own way
to communicate and to convey their literary message to the reader. Thus, in using:

A. The verb tense

The author chooses to use the present or past tense or a combination.
of verb tenses to suggest a certain tone or rhythm.

B. The language

The vocabulary used by the narrator creates an emotional effect on the reader.
and it also helps to communicate the topic: the language can be 'plain'
(Straightforward and everyday), or it can be 'poetic' (full of metaphors and ...
similes and other images and figures; it is an ambiguous and indirect language). The
language can also be very "official" and "formal," with legal expressions,
sophisticated vocabulary and heavy syntax (sentence structure)
artificial.

All of this has its effect on the tone, characterization, and theme.

The best style depends a lot on orality: expressions and vocabulary very
natural, just as people speak. A good style uses verbs and adjectives and
active and dynamic nouns, an "expressive" vocabulary. The author chooses
his words carefully, choosing those that say more, those that are more
concrete ones, those that help the reader visualize what is being said.

[Link] /Tone

A. The description. It serves to create the setting: time and place.

Nothing happens here. Here the narrator 'sets the scene.' Establishes the place (the
physical and temporal space) where the action takes place, and describes physically and
psychically to the CHARACTERS. The description can be decoration: for
set the tone, the atmosphere

or it can be more functional, and include essential information to understand the

action. B. TheTone
The combination of style, description, and language produces certain effects
about the reader's mood: it establishes an emotional medium. The tone can be
melancholic or cheerful, dark or mysterious; it can suggest terror or the
innocence, a historical sense, etc., etc. The TONE is the attitude adopted by the
narrator before textual matters, that is, before what he is narrating, before what
what the author wants to communicate.

THE SPEECH

The discourse represents the very expression of that history, that is, the set of
linguistic and formal elements that constitute it. In general terms, the
narrative language includes the following parts: description, dialogue,
the narration, the narrator's commentary, the organization and presentation of the
subject, the creation of the atmosphere and the tone.

1. The description. It serves to create the setting: time and place.

2. The dialogue. It reflects the verbal interaction between the characters, while the
omniscient narrator can present their thoughts, sometimes in
form of interior monologue (stream of consciousness).

3. The narration. It presents the action or the events of the text.

4. The narrator's comments. They provide information ---and very often, judgments---
about the narrative situation or about the other characters.

5. The organization and presentation of the subject. It is the way the author has
organized the elements that make up the work.
6. The creation of the environment. It is the way the author uses the elements of
the work to produce emotional effects and how the reader reacts to them
elements.

7. The tone. It is the attitude that the narrator takes towards the textual matters, it is
to say in front of what is being narrated.

All these parts of the discourse, called discursive functions,

they contribute, at the same time, to the presentation of literary characters.
Generally, a character can be described by the narrator or by another.
character. However, it is important to keep in mind that descriptions may
whether they are accurate or not; that is why one must pay attention to their tone.

Dialogue is also important for getting to know the characters because...

through their own words we can sometimes uncover their thoughts. A
Despite everything, one cannot judge a character solely by their actions.
interaction of a character with others and with their environment can be
revealing and should be analyzed carefully.

To narrate means to tell or recount facts and events, whether real or fictional.
that occur in a specific time and space determined by the narrator. The art
to narrate has a long history.

In Spain, the troubadours or << jugglers >> of the Middle Ages narrated life and the
feats of the great national heroes. The most famous example is the Cantar
of Mio Cid (1140), composed in rhymed verses. The first narratives
Epics were oral because the rhyme is easy to remember. The narrative genres
they include the anecdote, the fable (in verse and in prose), the tale, the novel, the
history or chronicle and biography.

Action is the essence of narration. The narrative usually unfolds in order.

chronological-- what happens, without many descriptive details, and in a way
lively and entertaining. The virtues, weaknesses, ambitions, and qualities of the
characters are discovered through The narrative style is the action. They are
move in a certain environment that can be characterized by beings
historical, contemporary, urban or rustic, exotic or mundane; following
elements and at a certain time that can be either the present or the past.
A good narrative brings together all these necessary elements to create a
original work, full of dynamism, interest, and characters that come to life.

The purpose of narration is to entertain, although a narration can also

inform and instruct. The description is minimal and serves to clarify the action. The
dialogue serves to express the thoughts and feelings of the characters
and to interrupt the long stories (narrative pieces that could tire the
reader.

THE ORDERING OF EVENTS IN A NARRATIVE

Generally, in narratives, the action is presented in chronological order. The

the narrator begins with an incident --a cause-- that generally causes
others, whose consequences almost always become complicated until reaching the
outcome, that is, to its resolution. Sometimes the author breaks this order
chronological through the technique of <<flashback>> (narration
retrospective.

The structure of a narrative consists of:

1. The exposition. The narrator presents the characters, defines the setting and
the action begins.

2. The development. The themes and the subject are developed.

3. Outcome. The conflicts are resolved.

THE MOVEMENT IN THE NARRATION

A narration whose prose is lively, with few details and short sentences,
gives the impression of being quick while a narrative filled with details,
With long sentences, it is slow. The narrator chooses the rhythm they want for their.
story. The movement of a narration is also stimulated by the
adverbial expressions of time, such as, for example, last night, yesterday, more
afternoon, often. Sometimes the time is defined more precisely: at three o'clock
the afternoon, at midnight, the bell struck one, etc.

Spanish 16

Winter, 96

The spider

It was already dark when I went up the stairs. When I entered the room, I turned on the light and
I quickly undressed. I was tired. I had worked all day and my
my body was asking for rest. I turned off the light and got into bed, getting in
the blankets up to my nose. As I moved to get more comfortable, I felt some
tickled on the face and I froze. Could it be a spider? I unintentionally
I trembled. I didn't want to move. I tried to stay still, almost without breathing.
But something was moving. What to do? Scream? Hit myself in the face? Finally,
desperate, I jumped out of bed and turned on the light. I shook off my nightgown and the
hair, but I found nothing. I hurriedly headed back to the
bed. I wanted to find the animal and kill it before it got away.
I shook the sheet, then the blankets, and finally the pillow floated out.
feathers and more feathers. My imaginary spider was a feather.

(Nola Oviedo, 1980)

1. What is the theme of this narration?

Is there any relationship between the topic and the title?

a. Who does the narrator seem to be talking to?

b. From what point of view is he/she speaking?

c. From what perspective is the action viewed?

d. Does the narrator participate in the action?

What is the purpose of the narrator?

4. What questions is it supposed to be trying to answer?

a. What happened to you?

b. What did you feel?

c. Why did you feel that?

d. Why didn't you get up immediately?

e. How did you react when you felt that?

f. And then what?

5. Do you think the narrator is trying to imitate the great writers?

6. Is he/she speaking with literary pretensions?

7. What expressions highlight the tension of the narrative and spark interest?
from the reader?

8. How has this description been organized?

a. Situation

b. Complication

c. Outcome

1. The theme of this narration. It is about telling a personal experience.

2. Even when the relationship is not very clear, we know that something is bothering the
narrator and since the title is 'the spider' we can assume that it is about a
venomous insect since the narrator herself is not sure what animal it is.
Perhaps it's a narrative strategy not to affirm whether it is a spider.
and not say it until the last line.

It seems to be speaking to the reader.

b. From the point of view of the first person singular.

c. The action is seen from the perspective of the person telling the event.

Of course she participates in the action as it is to her that this happens.

incident or in other words, she is the protagonist of the story that she herself tells.
I believe that it is not only about informing the reader of something that happened to them.
past. Note that if I just wanted to inform, I could have written my narration in
few words

Last night, when I was trying to fall asleep, I thought I felt a spider on my face but
it turned out to be a pen.

So the purpose of this narrative is, in addition to awakening interest in

reader; she wants to recreate in him the same tension and anxiety that she felt
while the reported events were happening. That is why it speaks of what occurred.
communicating at the same time what he felt and experienced in those moments.

5. I don't believe it since their language is simple and uncomplicated; moreover, it is

written for the common reader.

6. No, because it is not using technical words. However, when

narrate this incident step by step, including more details, create the suspense and
dramatize the moment.

7. It could be for example: I was paralyzed, I shuddered, I remained.

motionless, desperate, I jumped out of bed; etc., etc.

8. a. It is established in the first part (first 3 lines)

b. It starts in the second part

c. The resolution occurs in the third act.

STYLISTIC ASPECTS:

USE OF VERBAL TENSES

In this narration, the preterite and the imperfect are mainly used.
indicative. The preterite is used to advance narration. Answer the question:

What did the narrator do upon arriving home? The answer can be found in the
own narration, and the same narrator answers like this.

Ask the students to look for the expressions with the preterite of
indicative and have them note it in the first person.

I went up the stairs

I turned on the light

I quickly undressed.

I turned off the light.

I got into bed.

I felt tingles on my face.

I was paralyzed.

I shuddered.

I tried to stay still.

I jumped out of bed ...

The imperfect is used to describe the situation, that is, the environment in which it takes place.
develop the action or the mental and physical state of the character.

It was dark.

She was tired.

My body was asking for rest.

Something was moving.

My imaginary spider was a feather.

The past perfect is used to describe an action that occurs before another.
in the past.

I was tired. I had worked all day and my body was asking for rest.