In: Slovenská literatúra, vol. 61, no. 1
Detaily:
Rok, strany: 2019, 38 - 49
Jazyk: slo
Typ článku: ŠTÚDIE
DOI: https://doi.org/--
O článku:
The article is based on the analysis by John G. Cawelti saying that the western
formula cannot be attached to a single plot pattern but rather to a symbolic
chronotope and its in:fluence on the type of a hero who operates within the
chronotope. I use examples ofsome writings (M. Bird, F. Parkman, O. Wister,
J. Altsheller, M. Brand, E. Haycox, Z. Grey and others) to demonstrate several
narrative structures used in westerns: the schemes of chasing, revenge,
an armed conflict between groups of characters (or a duel), the scheme of
hunting for a treasure, the travel scheme as well as the scheme of a detective
nove!, which may be incorporated into the western.
I include a detailed analysis of Kari May' s nove! The Oil Prince (Der
älprinz, 1893). I reveal the principles of the Mayesque serial fictitious
universe (the principle of a returning character and hierarchical ranks of
characters) as well as the literary-historical genesis ofthe Winnetou saga
in the published short stories. Two types of stories can be identified within
May's text corpus: the ones having the paratactic narrative structure
(inherited from the picaresque nove!) and those having a centra! plot,
which also include The Oil Prince. Its narrative structure is organized by
the centra! motif of a fake oil lake trap (what the lake actually hides is the
fact it does not hide anything: as there is no oil well, in fact). The narrative
line of the bad guys is opposed by the narrative line of the positive
characters, who want to save a banker' s life. Both narrative lines are
interrelated by means ofthe manifold chasing/tracking narrative structure
(several groups of characters chase each other) depicted by the altemate
storyline composition switching between that ofthe good backwoodsmen
and that of the bad guys. On the level of narrative point of view the
altemate storyline composition is reflected in altemate focalization, which
makes the model readers identify themselves altemately with either the
good or the bad characters. Even jeopardizing the negative characters
narrative line makes readers feel suspence and frustration. Both of the
narrative lines are - on the microlevel - constructed as the solutions ofthe
narrative problems ( e.g being captured - being freed, a tough situation -
trick and so on): the positive characters deal with ad hoc tasks, problems,
which they are faced with, using their common sense (phronesis) so as
to assess and solve a particular situation, and their skills and physical
condition. I include a detailed analysis of the trick pattem in the case of
the Old Shatterhand character. On the other hand, the negative characters
deal with being in danger by telling lies or killing
In conlusion, I bring intertextual examples ofthe Mayesque fictional world
in the proses by J. F. Cooper, F. Gerstäcker, G. Ferry, T. M. Reid, Ch.
Sealsfield on the level of motifs, on the level of the hero construction as
well as on the level of the narrative structure (the composition of altemate
story lines ofthe positive and negatíve characters in F. Gerstäcker's work).
Ako citovať:
ISO 690:
Horváth, T. 2019. Naratívne štruktúry v príbehoch z Divokého západu Prípad Petrolejového princa (Dokončenie.). In Slovenská literatúra, vol. 61, no.1, pp. 38-49. 0037-6973. DOI: https://doi.org/--
APA:
Horváth, T. (2019). Naratívne štruktúry v príbehoch z Divokého západu Prípad Petrolejového princa (Dokončenie.). Slovenská literatúra, 61(1), 38-49. 0037-6973. DOI: https://doi.org/--
O vydaní:
Publikované: 25. 2. 2019