272 • INDEX
mimetic response, 11–12
misevaluation, 234, 235 fig. 12.2, 235 fig. 12.3.
See also deficient narration; unreliable
narration
misinterpretation, 234, 235 fig. 12.2, 235 fig.
12.3. See also deficient narration; unreli-
able narration
misreporting, 234, 235 fig. 12.2, 235 fig. 12.3.
See also deficient narration; unreliable
narration
Mitchell, David, 151n3, 164
Morrison, Toni, 9, 94, 150, 153–67, 155n5,
159n7
“My Last Duchess” (Browning), 57–58
Nabokov, Vladimir, 12, 64, 96–99, 110–16,
155, 171
naïve defamiliarization, 106
narration: audience, 7–8, 26 table 1.1, 27–28,
69–70, 75; backward, 117–24, 118n1, 129,
134; convergent, 220, 225–26, 232–33,
234 fig. 12.1, 235 fig. 12.3; conversation
as, 171–74; deficient, xii, 195, 206–14,
230–31, 235–37, 237 fig. 12.4, 237 fig. 12.5;
deficient intratextual, 236–37, 237 fig.
12.4, 237 fig. 12.5; deficient referential,
236; defined, ix, 5; distinctions in, 3–4;
ethics, 8–9; as event, 5; feminist theories
of, 150n1; mask, 99, 220, 228–29, 233, 234
fig. 12.1, 235 fig. 12.3; post-classical move-
ment in, 3; progression of, 10–11, 84–91,
120–21, 138–39, 158–67; as purposeful
exchange, 151–52; reading and, x–xi; reli-
able, 33, 65, 78, 125–29, 218–20, 231–34,
234 fig. 12.1; restricted, 219, 232, 234 fig.
12.1, 235 fig. 12.3; as rhetorical action,
137–42; speed, 84–93; unreliable, xii, 11,
96–100, 195–96, 211–12, 218–20, 230–31,
234–35, 235 fig. 12.2, 235 fig. 12.3, 255–56;
variance of rhetorical situation in, 10
narrative communication, rhetorical view of,
25–29, 26 table 1.1 and passim
narrative communication model, 13–19
Narrative Discourse (Genette), 44
narrative judgments, 83–91
Narrative Theory (Herman et al.), 27, 51–52,
105n4, 151n2
narrator: noncharacter, 137, 139–41, 147–48.
See also character narration, dialogue,
deficient narration, reliable narration,
restricted narration, unreliable narration
New Criticism, 97, 199
Nielsen, Henrik Skov, 45n8, 51, 69
noncharacter narrator, 137, 139–41, 147–48.
See also narration
nonfiction: creative, 67–68, 72; fiction vs.,
68–69, 72–73; literary, 72; narrative,
206–14; in rhetorical theory, 69–73
nonfictionality, 26 table 1.1: markers of, 68
norm, partial progress toward, 108–9
novel: as a genre, 69; dialogue type, 171–74occasion of narration, in Enduring Love,
239–56
“Occurrence at Owl Creek Bridge, An”
(Bierce), 94
Ockham’s razor, xii, 198–99, 204–6
Odd Man Out (McCarthy), 67
O’Hara, John, 168, 173, 185–94
One Flew Over the Cuckoos Nest (Kesey),
102–5
On Writing (Higgins), 185–86
optimistic comparison, bonding through,
109–10, 112Palmer, Alan, 151, 151n2, 152, 158–67, 158n6
paralepsis, 44, 49, 57–58
paralipsis, 44, 58
partial progress toward norm, 108–9
Pascal, Roy, 87n3
Persuasion (Austen), 70–71
Phelan’s Handle, xii
Phelan’s Shaver, xii, 47, 101
playful comparison, 105–6
plot dynamics, 10–11, 82, 159, 174, 177, 187
pockets of reliability, 118, 123, 125–29
Poetics (Aristotle), 31–32, 34–36, 34n3
post-classical narratology, 3
postcolonial theory, 3, 215–16, 229
post-structuralism, 152, 199. See also
structuralism
Pride and Prejudice (Austen), 9, 41–43, 73–77,
73n2, 202–3
probability: in Aristotle, 34–36; conventions
and, 44, 49n11; epistemology and, 43;
fictional mimesis and, 44–45; in Pride
and Prejudice, 73–77; spectrum of,
57–59, 58 fig. 2.4