| The value of narrativity in the representation of reality |
Hayden White |
| Narration in the psychoanalytic dialogue |
Roy Schafer |
| The law of genre |
Jacques Derrida ; translated by Avital Ronell |
| Secrets and narrative sequence |
Frank Kermode |
| Twisted tales, or, Story, study, and symphony |
Nelson Goodman |
| What novels can do that films can't (and vice versa) |
Seymour Chatman |
| Social dramas and stories about them |
Victor Turner |
| Narrative time |
Paul Ricoeur |
| It was a dark and stormy night, or, Why are we huddling about the campfire? |
Ursula K. Le Guin |
| Afterthoughts on narrative, I. On the how, what, and why of narrative |
Paul Hernadi |
| Afterthoughts on narrative, II. Language, narrative, and anti-narrative |
Robert Scholes |
| Afterthoughts on narrative, III. Narrative versions, narrative theories |
Barbara Herrnstein Smith |
| Critical response, I. Everyman his or her own annalist |
Louis O. Mink |
| Critical response, II. "The otherwise unnoteworthy year 711" : a reply to Hayden White |
Marilyn Robinson Waldman |
| Critical response, III. The narrativization of real events |
Hayden White |
| Critical response, IV. The telling and the told |
Nelson Goodman |
| Critical response, V. Reply to Barbara Herrnstein Smith |
Seymour Chatman |
| The value of narrativity in the representation of reality |
Hayden White |
| Narration in the psychoanalytic dialogue |
Roy Schafer |
| The law of genre |
Jacques Derrida ; translated by Avital Ronell |
| Secrets and narrative sequence |
Frank Kermode |
| Twisted tales, or, Story, study, and symphony |
Nelson Goodman |
| What novels can do that films can't (and vice versa) |
Seymour Chatman |