According to Booth, the distinction between reliable and unreliable narrators is based on "the degree and kind of distance" (155) that separates a given narrator from the implied author of a work. Hardly anyone to date has modified or challenged Booth's well-known formulation, which has become the canonized definition of the term: "I have called a narrator reliable when he speaks for or acts in accordance with the norms of the work (which is to say the implied author's norms), unreliable when he does not" (1961, 158-59). Booth first proposed the unreliable narrator as a concept, it has been considered to be among the basic and indispensable categories of textual analysis. * The present article is a completely revised and extended version of a paper read at a symposium on (.)ġEver since Wayne C. The final section gives a brief outline of the generic scope of unreliable narration, arguing that it is unjustifiable and counterproductive to limit the study of this phenomenon to narrative fiction A number of empirical frames of reference and literary models can be seen as standard modes of naturalization by means of which readers account for contradictions both within texts and between the world-model of texts and their empirical world-models. It is proposed that it would be more sensible to conceptualize the relevant phenomena in the context of frame theory as a projection by the reader who tries to resolve ambiguities and textual inconsistencies by attributing them to the narrator's "unreliability." In the context of frame theory, the reader's projection of "unreliable narrators" can be understood as an interpretive strategy or a cognitive process of the sort that has come to be known as "naturalization" (cf. The second part outlines a radical reconceptualization of unreliable narration. The first part of the article is devoted to giving an assessment and critique of the standard notions of the unreliable narrator, arguing that the postulation of essentialized and anthropomorphized entities designated "unreliable narrator" and "implied author" ignore the complexity of the phenomena involved and stands in the way of a systematic exploration of the cognitive processes which result in the projection of unreliable narrators in the first place. For all intents and purposes, we can say that our narrator is John Milton, the blind guy who lived in the 1600s, only he doesn't always like to talk about himself, so it's easy to forget.The paper argues that the concept "unreliable narrator" needs to be radically rethought because, as currently defined, it is terminologically imprecise and theoretically inadequate. Not to mention, he often inserts references to his own poem and its relationship to previous literature (especially in Book 1). He even refers to his blindness (beginning of Book 3) and English politics (beginning of Book 9). Several times throughout the poem, he interjects, wishing that things could have turned out differently. At many points in the poem it becomes clear that John Milton, the poet, is our omniscient third person narrator. He knows the whole story, and he knows how he wants to present it, so he sits back and feeds his readers information as he sees fit. In a sense, the narrator is like a puppeteer. For example, in Book 9, he tells us what Eve is doing, but then he shifts and tells us what Adam is doing. Because he is not a character in the story, our narrator can be in several places at once. Milton does this on numerous occasions, often telling us what Satan is thinking about, or what Adam is really feeling. This means that the narrator is not a character in the story (like Satan or Adam or Eve), but rather an external observer that can enter the thoughts of all of the characters in the story. The narrator of Paradise Lost is an omniscient third person.
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