By Alan Palmer
Some Definitions and Assumptions
What the e-book Is Not
A observe at the Texts
2. a few Narratological Approaches
Cognitive technological know-how and Frames
3. The Speech Categories
4. the entire Mind
5. The Social Mind
The improvement of Purposive Thought
The brain past the Skin
6. the fictitious Mind
The Continuing-Consciousness Frame
7. the fictitious brain in Action
Thought and Action
Doubly Embedded Narratives
8. additional functions
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Extra info for Fictional Minds
This is why the quote with which I started the book suggested that it is only ﬁctional people about whom we get completely reliable information. Generally, third-person narrators never lie (although some self-conscious experiments in the French Nouveau Roman have played with the idea of the unreliable thirdperson narrator). The question of the unreliable narrator that was made famous by Wayne C. Booth in The Rhetoric of Fiction is a completely separate issue that relates to ﬁrst-person narrators.
What was the purpose, motivation, intention, and so on behind the decision to take the action? However, this methodology is rarely explicitly described by story analysts in terms of mental functioning because the minds of characters tend to be regarded as a given rather than acknowledged as a discursive construct. This point is borne out by the following discussion of the story analysis notion of an event. There is a noticeable emphasis on events in a number of proposed deﬁnitions of narrative.
The constant features were abstracted from the more contingent aspects of the stories and were described as functions. A function is an “act of a character, deﬁned from the point of view of its signiﬁcance for the course of the action” (Propp 1968, 21). Propp identiﬁed thirty-one such functions. 0pt P ——— Normal P PgEnds: , (1) Some Narratological Approaches 29 order. He also devised a model of the dramatis personae who act in ways that embody these functions. During the 1960s and 1970s, structuralist theorists such as Bremond, Greimas, and Todorov developed various models that closely followed Propp in this respect and that were based on the concept of an actant: “A fundamental role at the level of narrative deep structure” (Prince 1987, 1).
Fictional Minds by Alan Palmer