Search results for: Narratology in All Content

Expanding Worlds: Into the Ethnography of Narrating

Expanding Worlds: Into the Ethnography of Narrating

Author(s): Ulf Palmenfelt / Language(s): English / Issue: 37/2007

Keywords: narratology; life history narrative; narrative analysis; taleworlds; storyrealms

I understand ethnography to mean a description of empirical materialthat is so meticulous that it constitutes part of the scientific analysis. An ethnography of narrating thus would include thorough descriptions of both the act of narrating itself with all its cultural, social, communicative, and emotional aspects, as well as of the narratives, their form, contents, meaning, function, and aesthetics. Katharine Young’s idea of describing a narrative situation as consisting of a number (three, four, or many) of worlds or realms (Young 1987) has proven to be extremely useful and productive. Its analytical strength lies in its ability to provide links between text-centred and performance-centred analyses, especially concerning the roles taken by participants during different phases of the narrative event. When applying Young’s model to a short excerpt of a taperecorded life history, its potency of reproduction becomes obvious. First, the speaker appears to set up not one, but a number of parallel taleworlds, occupying different positions in time and/or space. Complicated liaisons are established between temporal and spatial elements of these taleworlds. Second, inside Young’s ‘Realm of the Ordinary’ (or, possibly, parallel to Young’s ‘realm of thought’, ‘realm of interaction’ or ‘social world’) there seems to be need for a ‘Realm of Experience’, where all the not-yet-verbalized actions take place. Furthermore,some taleworlds seem to belong to realms of dreams and imagination,while others are situated in the future; still others (letters, diaries) typically are not performed inside live narrating sessions, but appear in frozen form. At different macrolevels we find the taleworlds of the grand narratives.

Narrative

NARRATIIV

Author(s): Märt Väljataga / Language(s): Estonian / Issue: 08-09/2008

Keywords: narratology; narrative turn; postclassical narratology

The article attempts an overview of the relationships between narratology and the narrative turn in the humanities from a historical and conceptual point of view. It surveys the definitions of narrative and narrativity, describes narrative as a possibly basic text-type and a cognitive instrument, and deals with its role in history- writing and identity formation. Narratology as an outshoot of rigorous structuralist poetics is compared to a more amorphous narrative turn in the humanities, encompassing psychology, social sciences, law, medicine, and theology. The narrative turn often uses the term „narrative as a metaphor or metonymy taken from the ordinary language and ignores the fine distinctions devel- oped in literary poetics. The multilayered concept of narrative is analyzed with the help of the traditional metaphysical distinction between form and matter. In some approaches story and experience play the role of matter, while plot, discourse and scripts may function as form. The product of their interaction may become the matter of some higher order process etc. The matter-form distinction may throw some light on philosophers' debates over the question whether life itself might have at least a rudimentary narrative structure. The article touches on the necessity of narrative agency for defining narrative and the possibility of narratives without a narrator. The imitative relationships between narrative and life are dealt in connection with the basic plots or mythoi as classificatory models for histories and biographies. In connection with history-writing the inescapable fictional connotations of the term „narrative” are mentioned, although the narrative form of history-writing does not necessarily mean that history is less objective than the rest of human sciences. Some problems with the theories of narrative construction of personal and collective identity are outlined. The last part of the article describes an antinarrativist turn in moral philosophy and a sobering attitude toward „narrative imperialism”. The differences between classical structuralist narratology and post-classical narratologies are sketched. Finally it is argued that (diachronic) narrative and (synchronic) scientific theory are two complementary instruments for comprehending the world.

On narrativity in contemporary theatre: a case study of the performance “The Distant Land”

Apie naratyvumą šiuolaikiniame teatre: spektaklio „Tolima šalis“ atvejis

Author(s): Rūta Mažeikienė / Language(s): Lithuanian / Issue: 2/2010

Keywords: narrativity;narratology;narrator;contemporary theatre;

The article addresses one of the notable characteristics of contemporary theatre: instead of being a place for showing and seeing, theatre more and more often becomes a place for narrating and listening. As contemporary theatre theorists note, the narrative manner of artistic expression is one of the distinctive features of contemporary theatre, as there are numerous performances in which narrative monologues and dialogues dominate the dramatic action. That is why the spectator very often has the impression that he / she is not seeing a play but rather listening to a story. Moreover, the narrative mode of representation encourages blurring the clear-cut distinction between fiction and reality, and allows the actors to tell / present the story freely balancing between the fictional status of the narrative story (histoire) and the actual situation of narration (narration). Referring to Gérard Genette’s narratology, the play “Le pays lointain” (“The distant land”) written by the French author Jean-Luc Lagarce (1994) and its theatrical production staged by the Lithuanian director Gintaras Varnas for the Kaunas State Drama Theatre (2001), the article discusses how the process of narration is shaped in a dramatic text, how it is developed in a theatrical performance, and how this kind of narration blurs the division between fiction and reality.

Transmedial Development of the Narreme. A Virtual Apex

Transmedial Development of the Narreme. A Virtual Apex

Author(s): Cristian Andrei Negruț / Language(s): English / Issue: 2/2016

Keywords: narratology; transmedial; narreme; virtual;

This paper aims to present a brief diachronic and transmedial overview of the development of the features of narration and its atomic unit, the narreme. Across media, narratives change, and so do the techniques and processes involved, giving rise to several distinctions in terms of genre, narreme delivery, audience involvement and relationship between audience and author. This is achieved through an attempt at identifying certain common features of narratives across media and to properly define and isolate the concept of narreme, for lack of a formal definition. The first section of this paper exemplifies and outlines said features, while the second part aims to demonstrate how said features and concepts developed transmedially, as well as how the fairly recent virtual medium provided grounds for a paradigmatic shift.

Irene J.F. de Jong, Narratology and Classics. A Practical Guide, Oxford: Oxford University Press 2014, ss. 230 (Iwona Wieżel)

Irene J.F. de Jong, Narratology and Classics. A Practical Guide, Oxford: Oxford University Press 2014, ss. 230 (Iwona Wieżel)

Author(s): Iwona Wieżel / Language(s): Polish / Issue: 10/2015

Description and point of view in the modern Japanese novel: Iwano Hōmei’s theoretical discourse

Description and point of view in the modern Japanese novel: Iwano Hōmei’s theoretical discourse

Author(s): Tomoe Nakamura,Manabu Kawada,Akihiro Kubo / Language(s): English / Issue: 1/2016

Keywords: narratology; (Japanese) naturalism; description; focalization;

This three-part paper is based on the panel of the same title presented at the conference “Japan: Premodern, Modern and Contemporary” on the 9th of September, 2015, where the authors discussed how the issues of description and point of view in the novel were treated by Japanese naturalist novelists including Tayama Katai and Iwano Hōmei. In the naturalists’ discourse, description was always linked to the problem of the establishment of realism. Katai, one of the most representative naturalists, proposed the concept of “plane description”, where the writer distances himself from the object and describes it objectively. On the other hand, Hōmei criticized this concept and advocated “monistic description.” Nakamura’s paper summarizes the main points of Hōmei’s theory of monistic description as they were presented for the first time in “My Theory of Description, Which Changes Definitively the Idea of Novel in the Present and the Future”. It tries to clarify the main points of the theory of monistic description based on Hōmei’s process of theorizing it, and on the revisions to his novels that he made at the same time. Kubo’s paper tries to grasp the features of Japanese naturalists’ description from the viewpoint of the contemporary literary theory in the West. Comparing the writings of Tayama Katai, and those of Iwano Hōmei, Kubo reveals that the Japanese naturalists’ conception of description is characterized by subjectivism, and that Hōmei not only developed the subjectivity of Japanese naturalists into a problem of “point of view”, but also had been influenced by French symbolism. Kawada’s paper considers Hōmei’s “monistic description” as pertaining to the problem of the “point of view” in contemporary narrative theories in the West, and, by focusing on a comparison with Henry James, points out that their similarity in novelistic method results from their common ideal of the novel. It also examines two different theoretical formulations of the point of view in novels, namely Gérard Genette’s and Mieke Bal’s, in relation to Hōmei’s arguments.

Aspects of Musical Semantics from the Perspective of Structuralism, Semiotics and Narratology

Aspecte ale semanticii muzicale din perspectiva structuralismului, semioticii şi naratologiei

Author(s): Mihaela-Georgiana Balan / Language(s): Romanian / Issue: 18/2018

Keywords: semantică; lingvistică; limbaj muzical; analiză structurală;

Muzica este o forţă universală, un mijloc de comunicare prezent pe întreaga planetă, pentru că deţine capacitatea de a influenţa emoţiile umane în absenţa cuvintelor (dacă ne referim la muzica instrumentală, camerală şi simfonică). Astfel, muzica este una dintre cele mai provocatoare arte în descifrarea mesajului ascuns de către creatorul ei. Studiul de faţă vizează trei metode analitice care s-au impus în muzicologia secolului al XX-lea – structuralismul, semiotica, naratologia. Scopul acestei lucrări este de a oferi o viziune de ansamblu asupra perspectivelor de investigaţie muzicologică şi de a formula nişte principii de aplicare a acestora în abordarea unei partituri muzicale la nivelul construcţiei formale, structurilor sonore, a echivalenţei de clase aplicate asupra elementelor muzicale, de asemenea la nivelul potenţialului energetic al izotopilor sonori folosind verbele modale şi din punct de vedere al aspectelor determinante pentru cadrul narativ (spaţialitate, temporalitate, actorialitate). Structuralismul, semiotica şi naratologia au apărut ca discipline autonome succesive, pe parcursul unei jumătăţi de secol, influenţându-se reciproc într-o coexistenţă stimulativă ce a permis o amplă deschidere ştiinţifică până în zilele noastre.

AFTER GENETTE: THE PROBLEM OF FOCALIZATION FROM THE PERSPECTIVE OF POSTCLASSICAL NARRATOLOGY

ПОСЛЕ ЖЕНЕТА: ФОКАЛИЗАЦИЈА У ОЧИМА ПОСТКЛАСИЧНЕ НАРАТОЛОГИЈЕ

Author(s): Jelena V. Vulović / Language(s): Serbian / Issue: 2/2015

Keywords: Focalization; postclassical narratology;

The focus of the work lies in the problem of focalization in classical and postclassical narratology studies that open a wide area for interpretation literary texts. Genette, the father of focalization in the structuralist phase of narratology, is nowadays not nearly satisfactory for the laying of foundations. Discussion with M. Bal, S. Rimmon-Kenan, M. Jahn and defence from their attacks illustrates the ground of Genette’s research in the best way. On the other hand, the late postclassical studies, especially from the cognitive phase, have greatly shaken the basis of this text-centred theory, which is quite visible in the survey of studies by D. Herman, A. Palmer, B. Richardson and M. Jahn. Serbian academic community, apart from a small number of researchers, seems to be completely rejecting this approach and perceiving it as definitely extinct and old-fashioned after the perception of structuralist narratology shortcomings. The aim of this paper is to show that, through the prism of focalization, narratology - supplemented, corrected, “brought back to life” by cognitive research - is, quite justifiably, back in the focus of literature researchers.

On the sources — inspired by the Manifesto

Ke zdrojům — inspirace „Manifestem“

Author(s): Matouš Jaluška / Language(s): Czech / Issue: 4/2019

Keywords: narratology; theory of literature; Manifesto;critical analysis;

Naléhavé volání Evy von Contzen po medievisticky orientované diachronní naratologii vychází především z vědomí důležitosti vyprávění jakožto výsostně lidské aktivity. Nová badatelská orientace má způsobit návrat ke zkoumání této činnost jakožto způsobu sdílení společného světa mezi lidmi navzájem, jak vyplývá z její „tirády“ (rant), publikované v roce vydání Manifestu ve sborníku „miniaturních manifestů post/medievalismu“ Burn After Reading. Tam autorka prohlašuje, že literární vědci „ztratili zájem o literaturu jakožto příběh a nahradili jej vírou ve svou vlastní schopnost vytvářet příběhy nové“ (von contzen 2014: 110). Proto je třeba sáhnout zpět ke dřeni. Naději na „návrat k narativu a znovuobjevení vyprávění jakožto základní hybné síly v oblasti literatury“ lze snadno spojit s nástupem „postpostmoderní epochy“ a obratem od individualismu k různým komunitám a jejich základům, který s sebou tato doba nese (ibid.: 111). První část Burn After Reading ostatně ústí do proklamace: „Chceme společnou budoucnost“.

Recent Work in Unnatural Narrative Studies

Recent Work in Unnatural Narrative Studies

Author(s): Brian Richardson / Language(s): English / Issue: 01/2019

Keywords: narratology; unnatural narrative theory;comparative perspectives;fiction;drama;

This essay surveys several of the most notable monographs, collections, and articles that appeared in the field of unnatural narrative theory and analysis between 2013 and 2019; it also previews a volume that is forthcoming at the beginning of 2020.

MATHEMATICS AND NARRATOLOGY: EXPLORING THE STRUCTURE OF PIRANDELLO’S NOVELS ACCORDING TO THE MÖBIUS RING

MATHEMATICS AND NARRATOLOGY: EXPLORING THE STRUCTURE OF PIRANDELLO’S NOVELS ACCORDING TO THE MÖBIUS RING

Author(s): Dimitra Giannara / Language(s): English / Publication Year: 0

Keywords: Pirandello; Möbius ring; Incompleteness theory; Recursive definitions; Bilateral trip;

In this paper firstly I give a descriptive overview of the structure of Luigi Pirandello’s (1867–1936) novels in a ringkomposition. I subsequently replace the common knowledge of the ring with the one proposed by August Ferdinand Möbius (1790–1868). Finally and, as a result, we arrive to some seditious conclusions concerning what we thought to know about Pirandello’s heroes. Particularly I will show that they were directing away from self–reference or formal rules by rambling inside and outside the ordinary social topology. The interactions studied by physics are in the present paper fabricated in the five–dimensional space of literature which revaluates the modern conceptions of time, space and causality.

Narrators and Narraters in the Novel "Pirey" by Petre M. Andreevski

НАРАТОРИТЕ И НАРАТЕРИТЕ ВО РОМАНОТ „ПИРЕЈ“ ОД ПЕТРЕ М. АНДРЕЕВСКИ

Author(s): Danche Stefanovska / Language(s): Macedonian / Issue: 8/2019

Keywords: narratology; Macedonian literature; prose; focalizer.

The paper presents a detailed analysis of the narrators and narraters in the novel Pirey by Petre M. Andreevski which was published for the first time in 1980 by the publishing house Misla. Narration is dominant in the epic literary works. It is a presentation of certain events in their chronological order or in a specifically organized form determined by the author. The narration is realized through a narrator which is a mandatory part of the narrative communication channel, and is heard by a narrater which is not a mandatory entity in the above-said channel. This paper discusses about the role of narrators and narraters in the novel Pirey. In order to illustrate the distinction between narrator and focalizer in general, there will be an actual distinction done between those two terms in the novel. As a general conclusion from the analysis of the narrators and narraters in Andreevski’s novel Pirey, the thesis is that the narrators can, but do not have to be focalizers. Multiple points of view can be shown regarding the events that happened through a narrator. Narrators can also become narraters and narraters can become narrators.

The Concept of Possible Worlds as a Theoretical Basis for the Study of Autobiographical Siscourse: Based on Akaki Tsereteli’s “My Adventure”

შესაძლო სამყაროების კონცეპტი, როგორც ავტობიოგრაფიული დისკურსის კვლევის თეორიული საფუძველი აკაკი წერეთლის "ჩემი თავგადასავლის" მიხედვით

Author(s): Irakli Khvedelidze / Language(s): Georgian / Issue: 22/2021

Keywords: narratology; autobiography; the theory of possible worlds; “My Adventure”;

Determining the narratological basis of the autobiographical genre is a research desideratum. To partially deal with this task, the concept of possible worlds is used in this paper. Based on this concept, it is shown how the experience of the autobiographer is constructed. The concept of possible worlds was first developed in the field of analytical philosophy and later used by narratologists as a theoretical framework for the analysis of literary texts, according to which the dynamics of the development of events are explored. Concerning this concept, some aspects are considered: Narrative universe is assumed to exist independently of the real world, it has its modal semantics: the modality of the events presented is determined by textual data, the consideration of historical facts is not necessary. The center of the narrative universe is the actual world, which is enclosed by the alternative worlds. The actual world has the absolute status to which the word physically existing/objective corresponds. The alternate worlds, on the other hand, are constructed through the mental processes of the characters

Narrator Types and Innovations (on the Example of Contemporary Slovenian Novel)

Typy rozprávača a jeho inovácie (na príklade súčasného slovinského románu)

Author(s): Aloyzia Zupan Sosich / Language(s): Slovak / Issue: 2/2022

Keywords: narratology; narrator; narrator types and their innovations; Slovenian novel

The article tackles the function of the narrator in contemporary fiction. After outlining the position of the narrator in classical and post-classical narratology, it analyses several innovative approaches to this category as found in contemporary Slovenian novel. The article outlines general determinants of the narrator and attempts at showing that the category is still viable and offers possibilities for systematising. It looks at the narrator in the context of narratology and provides a definition and typology of this category. Given the syncretic character of the category of narrator, the knowledge of its multiple types – not restricted to the ones outlined by structuralist narratology – proves to be fruitful. The wider current definition of the narrator is most concisely outlined in the standard model of communication and consists of such elements as the real author, implied author, narrator, narratee, implied reader and real reader. The model, unlike older conceptualisations, is based on mediation and the activity of the narrator, not on the notion of the narrator as the speaker.

On Narrating in the Second Person – Enactively

O narracji w drugiej osobie − enaktywnie

Author(s): Magdalena Rembowska-Płuciennik / Language(s): Polish / Issue: 2/2022

Keywords: narratology; second-person narration; enactivism; interaction; narrative participation;

The article presents an interactional model of second-person narration description.The text refers to the interdisciplinary research on the second-person perspective,which resulted in the “turn to you” in the cognitive sciences, philosophy, and sociology.Rembowska-Płuciennik discusses this current of reflection against the background ofthe hitherto narratological approaches to the second-person narration. Rembowska-Płuciennik introduces a conceptual matrix based on the enactive cognition theory, inwhich interaction with other subjects is seen as an inalienable component of humancognition. The article presents a narrative directed toward “you” as an interaction betweenthe initiator and the interactorm, namely the referent of the pronoun “you” and the “I”responding with its story to the actions of others. The participatory potential of this formof storytelling is considered to be the most important feature of its semantics.

Narrative and experience in Hellblade: Senua's Sacrifice

Наратив и преживяване в "ХЕЛБЛЕЙД: жертвоприношението на Сенуа"

Author(s): Severina Stankeva / Language(s): Bulgarian / Issue: 13/2023

Keywords: narratology; video games; outmersive design; narrative dissonance

The text examines the narrative of the video game Hellblade: Senua’s Sacrifice through Jean-Noël Thon’s three-part perspectivist model, focusing on its third dimension - the ideological perspective. It states that the elements of the gameplay, usually defined as purely ludic, in fact play a prominent narrative role. The game manages to trick the player without lying to them by relying on classic video game relations such as believing in what is seen and told, the self-identification of the player with the avatar, and uncritically accepting the game’s instructions/information as relating to their own actions, not to those of the avatar. The ideological perspective of the characters combined with the thus created ‘misleading’ gameplay question the game-player relationship, while at the same time succeeding in an original way to distance the player from the avatar and ultimately succeeding to make the player feel towards the game as the character feels within in his own world. Accordingly, if the gameplay has a message, i.e., allows itself to be semanticized independently of and in conflict with the cinematic cuts in the game, it functions narratively and creates a dissonance resulting from two different and parallel forms of storytelling.

Toward a Nonhuman Narratology: Material Metaphors in Ann Pancake’s Strange as this Weather Has Been

Toward a Nonhuman Narratology: Material Metaphors in Ann Pancake’s Strange as this Weather Has Been

Author(s): Alexandra Brici / Language(s): English / Issue: 2/2023

Keywords: cognitive studies; narratology; affect theory; more-than-human assemblages; ecocriticism; Anthropocene;

This paper examines the convergence of affect theory and cognitive narratology. I investigate the methodological potential of a cognitive narratology informed by affect as found in the (autonomous) intensities and resonances that circulate about and between bodies (Gregory J. Seigworth and Melissa Gregg). By adopting Brian Massumi’s configuration of affect (as asymbolic, autonomous and asubjective), I aim to explore how this conception can account for nonhuman (narrative) agents and open up space for alternative forms of environmental situatedness in cognitive narratology. Expanding upon the “4E” cognitive model, I trace the enmeshment of human and non-human agents within the metaphorical pattern of Ann Pancake’s 2007 novel Strange as This Weather Has Been. I undertake an analysis of multiple extra- and inter-textual vectors to show how these metaphors underscore a view of cognition as participating in a field of affective intensities and becomings and highlight its emergence as entangled in a world of material interdependencies.

Transgeneric narratology: narratological analysis of poetry as a new systematic theory of lyric

Transgenerická naratológia: naratologická analýza poézie ako nová systematická teória lyriky

Author(s): Romana Kališová / Language(s): Slovak / Issue: 2/2024

Keywords: lyric poetry; narratology; lyricology; narrative, narrator

This overview essay on the implementation of narratology on reading and interpreting lyric poetry presents the main principles of the so-called lyricology, which is based on the thesis that narrative structures, such as the presence of agency, mediation and sequencing (the ordering of plot sequences), can also be observed in lyric poetry. This line of research has been followed by scholars at German universities, but has also found its way into the English-speaking academic world. The paper defines narratological concepts which are readily applicable to lyric poetry, such as focalisation, event, narrative reliability, and hierarchical stratification of the narrator (biographical author – abstract/implicit author – narrator/speaker – protagonist/character in the plot). The essay presents narratological analysis of lyric poetry as an innovative approach to the reading of lyric poetry, but also highlights the potential pitfalls of this approach and outlines appropriateness of its use.

THE CONNECTION BETWEEN THE BODY AND EMOTION: CORPOREAL NARRATOLOGY VERSUS LOVE AS A METAPHOR IN THE WORKS OF TONI MORRISON, SUSAN SONTAG AND SARAH PERRY

THE CONNECTION BETWEEN THE BODY AND EMOTION: CORPOREAL NARRATOLOGY VERSUS LOVE AS A METAPHOR IN THE WORKS OF TONI MORRISON, SUSAN SONTAG AND SARAH PERRY

Author(s): Simona Olaru-Poșiar / Language(s): English / Issue: 38/2024

Keywords: metaphor; hindsight; narrative body; corporeal narratology; (master) narrative;

The original sacred time has nowadays become a communication that connects common actions for fulfillment that connect the body to the emotion. To escape the present crisis of identity, man eagerly seeks a place of spiritual life under the sign of togetherness. Compelled by history, man is aware of the impossibility of solitary survival. Using the power of the metaphor and of the (master) narrative, we are introduced to three different renderings of love. These universes are set metaphorically speaking, on different theatrical stages and in unique temporal spaces that are painted in prose by three different female writers: Toni Morrison, Susan Sontag and Sarah Perry. They come from different backgrounds, different cultures, share different perspectives and experiences. Each rendering offers a microcosmic window on love and the connection between body and emotion. Using the master narrative and the metaphor, love is the key for opening each universe.

ANALAYSIS OF FRANS KAFKA’S NOVEL METAMORPHOSIS WITH NARRATOLOGY STORY ANALYSIS METHOD

FRANS KAFKA'NIN DÖNÜŞÜM ROMANININ ANLATIBİLİMİN ÖYKÜ ANALIZI YÖNTEMİYLE İNCELENMESİ

Author(s): Seyhan M. Ibrahimi,Berna Beyoglu / Language(s): Turkish / Issue: 5/2024

Keywords: Metamorphosis;novel;story analysis;discourse

This study examines the novel “The Metamorphosis” by Franz Kafka using the story analysis method in Manfred Jahn’s narratology. Manfred Jahn’s narratology aims to examine the basic elements of the story, the plot, the prequel, the first story line, the aftermath and the present discourse situation. The study particularly focuses on the criticism of modern society, the change that begins with the transformation within the family, individual alienation and the examination of intra family conflicts using the story analysis method in narratology. In the introduction section of the study, the general characteristics of Kafka’s works and Gregor Samsa’s transformation process are discussed based on the author’s letters. In the main section, the first story line, plot, the prequel, the aftermath and the present discourse concepts are analyzed using the story analysis method in Manfred Jahn’s narratology. The primary plot of the work is kept separate from the other elements in the story. The logical and causal structure of the events is examined. For example, this primary plot, which begins with Gregor Samsa turning into an insect one morning, covers not only the individual himself, but also the major changes in the lives of all family members. It is seen that Frans Kafka's novel "The Metamorphosis" generally has a closed structure and that it is based on elements such as father son conflict, family disagreements, bureaucracy, uncertainty, dilemma, guilt, and alienation. In this context, it is stated that the term "Kafkaesque" is a concept used to define Frans Kafka's novel and is associated with emotions such as fear, insecurity, meaninglessness, and helplessness. Manfred Jahn's method analyzes the position of the narrator in detail by considering concepts such as the openness or closedness of the narrative voice. How open or closed the narrator is is seen as an important factor in the reader's process of making sense of the story. While the action unit represents small situations or sections in the plot, it contributes to understanding the general structure of the narrative. The events that occur in the primary plot are usually kept separate from the before and after of the story, which occurs after the beginning or end of the primary plot. In this study, which also focuses on the “present discourse” dimension of the story, the time and expression forms of the narrative are analyzed. This analysis offers a perspective to understand the functions of the narrator voices in the text and the effects of the events on the story. In addition, the effect of Gregor Samsa's transformation on family relationships and individual identity is also examined. When Frans Kafka's novel The Metamorphosis is evaluated with Manfred Jahn's story analysis method, it is seen that examining the work from a different perspective makes the work more visible and is conveyed to the reader more effectively in terms of thematics. This study contributes to readers who want to understand The Metamorphosis more comprehensively