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| ELL2013 | Introduction to Narratology | 2+0+0 | ECTS:4 | | Year / Semester | Fall Semester | | Level of Course | First Cycle | | Status | Compulsory | | Department | WESTERN LANGUAGES and LITERATURE (%100 English) | | Prerequisites and co-requisites | None | | Mode of Delivery | | | Contact Hours | 14 weeks - 2 hours of lectures per week | | Lecturer | Prof. Dr. Mustafa Zeki ÇIRAKLI | | Co-Lecturer | | | Language of instruction | | | Professional practise ( internship ) | None | | | | The aim of the course: | | To equip students with foundational and advanced tools of narrative theory, enabling them to identify, differentiate, and critically analyze narrative structures, agents, and arrangements across genres, fostering precise and insightful literary interpretation. |
| Learning Outcomes | CTPO | TOA | | Upon successful completion of the course, the students will be able to : | | | | LO - 1 : | - Students will be able to differentiate between discourse and narrative discourse; sjuzhet and fabula; author and narrator.
| 5 - 12 - 13 | 1 | | LO - 2 : | - Students will be able to differentiate between author, implied author, narrator, focaliser, and character. | 5 | 1 | | LO - 3 : | - Students will be able to differentiate between narrative levels, temporal arrangements, and spatial arrangements in a narrative. | | 1 | | LO - 4 : | - Students will be able to conduct critical analyses of narratives. | | | | CTPO : Contribution to programme outcomes, TOA :Type of assessment (1: written exam, 2: Oral exam, 3: Homework assignment, 4: Laboratory exercise/exam, 5: Seminar / presentation, 6: Term paper), LO : Learning Outcome | | |
| This course introduces key concepts in narratology, exploring distinctions between discourse and narrative discourse, sjuzhet and fabula, and narrative agents such as author, narrator, and focaliser. Students examine narrative levels, temporal and spatial structures, and develop analytical skills to critically interpret diverse narrative forms across literary and cultural texts.
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| Course Syllabus | | Week | Subject | Related Notes / Files | | Week 1 | Narrative Paradox
Explores the tension between narrative coherence and fragmentation, questioning how stories remain meaningful despite contradictions.
| | | Week 2 | Fabula and Sjuzhet
Introduces the distinction between story (fabula) and plot (sjuzhet), examining how narrative structure shapes perception.
| | | Week 3 | Narrative Discourse
Analyzes how narratives are told, focusing on voice, temporality, and the mediation of events through language.
| | | Week 4 | Historical Author vs Implied Author
Distinguishes between the real-life author and the constructed authorial presence within the text, and is explained with examples.
| | | Week 5 | Author vs Narrator
Examines the separation between the author?s intention and the narrator?s voice, perspective, and reliability.
| | | Week 6 | Unreliability
Investigates through examples unreliable narration, exploring how doubt, distortion, or bias affect narrative truth and reader trust.
| | | Week 7 | Narrator vs Character
Analyzes the boundaries and overlaps between narrators and characters, and explains with examples, especially in first-person and third-person narration.
| | | Week 8 | Narrative Levels and Involvement
Examines narrative levels (extradiegetic and intradiegetic categories) and related embedded stories, also illustrating the narrator's degree of involvement (homodiegetic and heterodiegetic categories) and how they engage with the story they tell.
| | | Week 9 | Midterm Exam
| | | Week 10 | Who Tells? Who Perceives?
Discusses narrative voice and focalisation, asking who speaks and who sees within the story with examples.
| | | Week 11 | Focalisation
Introduces focalisation as a tool for analyzing perspective, access to knowledge, and narrative control.
| | | Week 12 | Internal and External Focalisation
Explores focalisation through characters? minds (internal) versus external observation, shaping narrative intimacy and distance.
| | | Week 13 | Free Indirect Discourse
Explores a narrative technique blending third-person narration with a character?s inner voice. It allows access to thoughts and emotions without direct quotation or explicit attribution, creating intimacy and ambiguity. Common in modernist fiction, it blurs boundaries between narrator and character perspective. | | | Week 14 | 15. Focalisation from Within and Focalisation from Without
Refines focalisation analysis by examining subjective immersion versus detached narration across genres and styles.
| | | Week 15 | Order and Duration
Examines how narrative events are sequenced (order) and how long they are narrated (duration). Focuses on techniques like analepsis, prolepsis, ellipsis, and scene, revealing how time is manipulated to shape meaning, suspense, and reader engagement. | | | Week 16 | Final Revision | | | |
| 1 | Rimmon-Kenan, Shlomith. (2002) Narrative Fiction: Contemporary Poetics. London: Routledge. | | | |
| 1 | Bal, Mieke. (2009). Narratology: Introduction to the Theory of Narrative. 3rd Ed. Toronto: University of Toronto Press. | | | 2 | Çıraklı, Mustafa Zeki (2015). Anlatıbilim: Kuramsal Okumalar, Hece. | | | |
| Method of Assessment | | Type of assessment | Week No | Date | Duration (hours) | Weight (%) | | Mid-term exam | 9 | 19.11.2025 | | 50 | | End-of-term exam | Final Sınavı | 13.01.2026 | | 50 | | |
| Student Work Load and its Distribution | | Type of work | Duration (hours pw) | No of weeks / Number of activity | Hours in total per term | | Yüz yüze eğitim | 4 | 15 | 60 | | Arasınav için hazırlık | 2 | 8 | 16 | | Arasınav | 1 | 1 | 1 | | Uygulama | 2 | 14 | 28 | | Dönem sonu sınavı için hazırlık | 1 | 14 | 14 | | Dönem sonu sınavı | 1 | 1 | 1 | | Total work load | | | 120 |
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