Communication model of literary texts

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The communication model of dramatic , lyrical and narrative texts describes in literary studies and literary theory the simplified, model-like graphic representation of the communication structure typical for different literary genres .

The communication model of literary texts provides a theoretical frame of reference for text analysis in which the pragmatic dimension is in the foreground. This model enables the inclusion of all senders and receivers in the different literary genres and texts who are involved in the communication of a literary work in both the external and internal areas.

The communication model of dramatic, lyrical and narrative texts depicts the vertical hierarchization of the communication levels and the functional relations of the embedding as well as the "horizontal internal structure of the communication level" (Kahrmann et al., P. 43).

With the help of the communication model of literary texts, basic generic characteristics of lyrical, dramatic and narrative texts can be illustrated. In lyrical texts, the author does not articulate himself directly, but delegates his statements or feelings to a fictitious speaker in the text, the “ lyrical I ”, who addresses a more or less clearly defined or specific textual addressee.

In dramatic and narrative texts, the communication level of the fictional plot is established through the dialogue between the characters in the story; the sender and receiver roles can also change at the level of the fictional plot .

In contrast to the drama (cf. Pfister 1994), in narrative texts the speaking situation of the characters is embedded in the superordinate level of communication of the mediating narrative instance , on which the narrator addresses a likewise fictitious addressee ( fictitious reader ) who is often directly addressed in the text .

A distinction can be made between these two fictional communication levels within the plant and the level of empirical communication outside the plant , on which a real author acts as a sender and a real reader acts as a receiver.

The differentiation of these three different levels of communication makes it possible in literary studies or literary theoretical analysis to clarify the differences between the fictional narrator and the real historical author as well as between the fictitious reader and the actual empirical reader. This concept also enables an illustration of the embedding of the communication levels in their respective hierarchical dependency or subordination relationship to one another.

The concept of narrator or narrative perspectives , which was previously developed in narrative theory independently of considerations of communication theory, can now be systematically analyzed in terms of its various functions within the framework of the communication levels of the narrative text, since it can be logically derived from the basics or prerequisites of communication theory . The communication model of narrative texts is in this respect compatible with the differentiation between the two levels of narration and narration (cf. histoire vs. discours ). The term histoire or the story refers to the totality of the aspects that define the level of the story being told, i.e. H. the embedded communication level, while the concept of discours defines the structure of the narrative mediation, d. H. the second internal communication level.

The level of the implicit author and implicit reader (cf. Kahrmann et al. And Pfister 1994), which is provided in some communication models of literary texts, is conceptually higher than the communication level of narrative conveyance. Various critics, on the other hand, reject this literary theoretical construct because the implicit author is not a "sender" in the sense of communication theory, but only semantic or formal aspects of the overall text. Likewise, the sufficient verifiability of a personal differentiation between the implicit author and the implicit reader is fundamentally questioned by these critics .

Also the realistic and mimetic assumptions or premises , which the transfer of theoretical communication considerations to the different levels and instances of literary texts or works, or which underlie the literary communication model, are viewed critically in the more recent research (cf.e.g. Fluerdernik 1993: The Fictions of Language and the Language of Fiction ).

Regardless of this, as Nünning explains, the communication model of literary texts has proven itself as a heuristic and didactic aid, especially in narrative theory and the analysis of narrative texts as well as in drama theory and the clarification of the distinctive features of the genre .

literature

  • Cordula Kahrmann, Gunter Reiß, Manfred Schluchter: Narrative text analysis: an introduction; with study and exercise texts . Beltz Verlag (Athenaeum), Weinheim 1996, ISBN 3-89547-111-9 .
  • Ansgar Nünning : Communication model of dramatic, lyrical and narrative texts . In: Ansgar Nünning (ed.): Basic concepts of literary theory. Metzler Verlag, Stuttgart and Weimar 2004, ISBN 3-476-10347-1 , pp. 119-121.
  • Ansgar Nünning: Basic features of a communication-theoretical model of narrative mediation: the function of the narrator in the novels of George Eliot . Wissenschaftlicher Verlag Tier, Trier 1989, ISBN 3-922031-48-X .
  • Manfred Pfister : The Drama: Theory and Analysis . 8th edition, exp. and bibliogr. updated reprint of the complete and additional edition 1988, Fink Verlag , Munich 1994, ISBN 3-8252-0580-0 ( UTB ), alternatively ISBN 3-7705-1368-1 (Fink).

Web links

Individual evidence

  1. ^ Ansgar Nünning: Communication model of dramatic, lyrical and narrative texts . In: Ansgar Nünning (ed.): Basic concepts of literary theory. Metzler Verlag, Stuttgart and Weimar 2004, ISBN 3-476-10347-1 , pp. 119f.
  2. ^ Ansgar Nünning: Communication model of dramatic, lyrical and narrative texts . In: Ansgar Nünning (ed.): Basic concepts of literary theory. Metzler Verlag, Stuttgart and Weimar 2004, ISBN 3-476-10347-1 , pp. 119f.
  3. ^ Ansgar Nünning: Communication model of dramatic, lyrical and narrative texts . In: Ansgar Nünning (ed.): Basic concepts of literary theory. Metzler Verlag, Stuttgart and Weimar 2004, ISBN 3-476-10347-1 , p. 120.
  4. ^ Ansgar Nünning: Communication model of dramatic, lyrical and narrative texts . In: Ansgar Nünning (ed.): Basic concepts of literary theory. Metzler Verlag, Stuttgart and Weimar 2004, ISBN 3-476-10347-1 , p. 120.
  5. ^ Ansgar Nünning: Communication model of dramatic, lyrical and narrative texts . In: Ansgar Nünning (ed.): Basic concepts of literary theory. Metzler Verlag, Stuttgart and Weimar 2004, ISBN 3-476-10347-1 , p. 120.
  6. ^ Ansgar Nünning: Communication model of dramatic, lyrical and narrative texts . In: Ansgar Nünning (ed.): Basic concepts of literary theory. Metzler Verlag, Stuttgart and Weimar 2004, ISBN 3-476-10347-1 , pp. 120f.
  7. ^ Ansgar Nünning: Communication model of dramatic, lyrical and narrative texts . In: Ansgar Nünning (ed.): Basic concepts of literary theory. Metzler Verlag, Stuttgart and Weimar 2004, ISBN 3-476-10347-1 , p. 121. See also P. Wenzel: A plea for models as an orientation aid in literature lessons . In: Literature in Science and Education 30.1 (1997), pp. 51–70.