孟繁华：《叙事的艺术》

热拉尔·热奈特：《叙事话语 新叙事话语》

徐  岱：《小说叙事学》

傅延修：《讲故事的奥秘：文学叙述论》

罗  钢：《叙事学导论》

胡亚敏：《叙事学》

董小英：《叙述学》

王  阳：《小说艺术形式分析：叙事学研究》

杨  义：《中国叙事学》

王泰来：《叙事美学》

戴卫·赫尔曼：《新叙事学》

H.P.Abbott: The Cambridge Intruduction to Narrative （北京大学出版社 2007）

                           王小的故事

    很久以前，在一个小山村里，住着一个叫王小的人，七岁没了爹八岁没了娘，靠上山打柴为生，因为穷，二十四五岁了还没找到个媳妇。

    一天，王小上山打柴回来，见几个小孩用石头砸一条小长虫。王小说：“你们如果放了小长虫，我就把我的干柴送给你们。”他们便停手了。

    王小回家，晚上做了个梦，梦到一个大山上有很多柴草。天明后，王小想：如找到那山，拾到柴卖掉，不就有了吃穿吗?于是便打点行装走出了家门。

    走过几十条河流几十座大山，

Finally, the very possibility of a coherent narratology, one that successfully integrates the study of the what and the way, has been put into question by poststructuralist theorists and critics invoking the so-called double logic of narrative. This double logic consists of the two organizing principles in terms of which every narrative presumably operates. One principle emphasizes the primacy of event over meaning, that is, insists upon event as the origin of meaning; the other stresses the primacy of meaning and its requirements, that is, insists upon event as the effect of a will to meaning. The first principle emphasizes the logical priority of story over discourse; the second stresses the reverse and makes story the product of discourse. Each principle functions to the exclusion of the other, but, paradoxically, both are valid and necessary to the deployment of narrative, its impact, its force. This means that narratology, however much it is developed and refined, will al

Defining narrative by its mode of presentation (and insisting on the role of a narrator) instead of defining it by its object (events) leads to a neglect of narratorless stories. In addition, it disregards the fact that the story, too, makes narrative whatever it is--without a story there can be no narrative. A number of narratologists consider both the events presented and their presentation pertinent to the exploration of its possibilities. Mieke Bal, Seymour Chatman, Michel Mathieu-Colas, and Gerald Prince, for example, have attempted to integrate the study of the what and the way; and Greimas's most recent model of narrative makes room for the story as well as for discourse. This 'generalized' or 'mixed' narratology can be said to correspond to the 'science' that Roland Barthes evoked in his 'Introduction' and to the practice manifested in the other articles making up the well-known 1966 number of Communications devoted to narrative. It can also be said to conform to the p

Narratology

Narratology is a theory of narrative. It examines what all narratives, and only narratives, have in common as well as what enables them to differ from one another qua narratives, and it aims to describe the narrative-specific system of rules presiding over narrative production and processing. The term 'narratology' is a translation of the French term narratologie--introduced by Tzvetan Todorov in Grammaire du Décaméron (1969)--and the theory historically falls into the tradition of Russian Formalism and French Structuralism. Narratology exemplifies the structuralist tendency to consider texts (in the broad sense of signifying matter) as rule-governed ways in which human beings (re)fashion their universe. It also exemplifies the structuralist ambition to isolate the necessary and optional components of textual types and to characterize the modes of their articulation. As such, it constitutes a subset of Semiotics, the study of the factors oper