The stories people tell in the course of conversations are both implicated in and distinct from the occasions on which they are told. Their implication is a matter of context; their distinctness is a matter of frame. Contexts show up as continuities between stories, conversations, and storytelling occasions; frames mark discontinuities. By virtue of their frames, stories can be identified as a different order of event from the conversations in which they are enclaves and from the occasions of their telling, (...) an event with its own conventions of presentation. Stories are neither natural utterances in conversations nor are they ordinary events in everyday life. They are recountings of such events in the course of such conversations. Stories thus constitute a separate universe of discourse, a storyrealm embedded in the realm of conversation. The storyrealm, that segment of narrative discourse within conversation, in turn directs attention to a third realm, the realm of the events the story is about or taleworld. Events in the taleworld are framed by the storyrealm, itself framed by the realm of conversation. (shrink)

The configurational dimension, in turn, displays temporal features that may be opposed to these "features" of episodic time. The configurational arrangement makes the succession of events into significant wholes that are the correlate of the act of grouping together. Thanks to this reflective act—in the sense of Kant's Critique of Judgment—the whole plot may be translated into one "thought." "Thought," in this narrative context, may assume various meanings. It may characterize, for instance, following Aristotle's Poetics, the "theme" that accompanies the (...) "fable" or "plot" of a tragedy.1 "Thought" may also designate the "point" of the Hebraic maschal or of the biblical parable, concerning which Jeremias observes that the point of the parable is what allows us to translate it into a proverb or an aphorism. The term "thought" may also apply to the "colligatory terms" used in history writing, such terms as "the Renaissance," "the Industrial Revolution," and so on, which, according to Walsh and Dray, allow us to apprehend a set of historical events under a common denominator. In a word, the correlation between thought and plot supersedes the "then" and "and then" of mere succession. But it would be a complete mistake to consider "thought" as a-chronological. "Fable" and "theme" are as closely tied together as episode and configuration. The time of fable-and theme, if we may make of this a hyphenated expression, is more deeply temporal than the time of merely episodic narratives. · 1. It may be noted in passing that this correlation between "theme" and "plot" is also the basis of Northup Frye's "archetypal" criticism. Paul Ricoeur is professor of philosophy at the Université de Paris and John Nuveen Professor at the University of Chicago. Some of his works to appear in English are Husserl: An Analysis of His Phenomenology, Main Trends in Philosophy, and The Conflict of Interpretations: Essays on Hermeneutics. His previous contribution to Critical Inquiry, "The Metaphorical Process as Cognition, Imagination, and Feeling," appeared in the Autumn 1978 issue. (shrink)

An original work of theory as well as a deft critical performance, Narrative Ethics also stakes a claim for itself as moral inquiry.