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As 2 Sandra Heinen, Roy Sommer a consequence, despite the shared interest in narrative, common ground is hard to find: Although there has been extensive research on narrative on a wide range of fields, the flow of research findings across disciplinary boundaries is still minimal. What once was a more or less homogeneous domain of theorizing has become a many-voiced field of debate; where once there was agreement at least on crucial questions there is now controversy on almost everything.1 For some time now, narratologists have obviously felt more and more uncomfortable with this situation and have therefore made intense efforts to appraise and cautiously evaluate the proposals for a renewal of narratology and its core concepts. 66 Ansgar Nünning shrinking, it is impossible to predict whether or not the various new narratologies will actually fulfil the high hopes that many of their proponents currently hold; but the kind of cultural narratology outlined and applied above promises to show what the point of narratology is, or at least what it could be. Important advances in different scholarly traditions do not always inform each other, and research findings often remain isolated and largely unintegrated. In her “Afterthoughts” to the 2002 edition of her Narrative Fiction Shlomith Rimmon-Kenan (2002: 135) accurately observed: “A reconsideration of narratology has become a genre of its own”. In contrast to most of the existing attempts to reconsider narratology, I am not going to provide a survey of new approaches to remodeling narrative theory, be it in part or in whole. It seems wise, however, to leave at least the penultimate word to John Bender, who strikes the right sort of balance between, on the one hand, acknowledging the undoubted usefulness of the narratological toolbox and, on the other, emphasizing both the need to move beyond a merely descriptive poetics of narrative and the benefits of understanding that the crossing of disciplinary boundaries affords: If the opening of literary studies to cultural history is to continue [...], we must value the finely crafted tools but leave the boundaries behind. 228 VINCENT MEELBERG Sounds Like a Story: Narrative Travelling from Literature to Music and Beyond ........................................................................ Surveying Contextualist and Cultural Narratologies 65 (2) by providing adequate descriptive tools, it will enable cultural critics to attend to the specific tools and strategies that are characteristic of narratives in a wide range of media. A Literary Perspective on the Extensions of Narrative Theory”.

The contributions by Andreas Mauz and Harald Weilnböck were added in order to emphasize the cross-disciplinary character of the volume. In: Literatur in Wissenschaft und Unterricht 27, p. Context and form, content and narrative technique, are, after all, more closely intertwined than structuralist narratologists have tried to make us believe. The highly sophisticated models and terminologies developed for the analysis of the novel, plays, films, and poetry cannot be transferred to the analysis of non-fictional storytelling without some serious modification. Although the proposals for such a renewal—the so-called new, hyphenated or postclassical narratologies—are manifold and differ in a number of respects, most of them have at least some features in common.2 In the present context, it will do to dwell on just one of these features, namely, the expansionist claim that narratology is to be modeled as a theory encompassing both the analysis and interpretation of literary narratives. ‘Narrative’, ‘narrativity’ and ‘storytelling’ have been travelling concepts for quite some time now, and in an age of intense interdisciplinary interest in narratives and storytelling, narrative theory would stand to gain a lot if narratologists started to do some travelling as well. Surveying Contextualist and Cultural Narratologies 67 count of the contexts as well as the cultural functions of narratives as crucial ways of world-making. Here, narratology is still in its infancy, despite the ground-breaking work by Monika Fludernik, David Herman and other proponents of cognitive and linguistic approaches to narrative and narratology. This is the central demand of the large subclass of new approaches to narrative theory that have been, for some years now, categorized as ‘contextual narratologies’.3 The claim can be traced back to Susan S. Only then will they be in a position to take ac- 15 For an excellent overview, see Salmon (2007), who summarizes the main developments, and the works of Stephen Denning, the ‘guru’ of the storytelling approach in management. 154 Contents SILKE HORSTKOTTE Seeing or Speaking: Visual Narratology and Focalization, Literature to Film............................................................................... Cultural narratology recognizes that, since “ideology is located in narrative structures themselves” (Helms 2003: 14), analyses of the semanticization of narrative forms can shed light on the unspoken assumptions, attitudes, and ideologies, as well as on the values and norms prevalent in any given text, genre and period. Fiction and the Architecture of Mind in Eighteenth Century England. 170 SANDRA HEINEN The Role of Narratology in Narrative Research across the Disciplines........................................................................ Once narrative forms are understood as socially constructed cognitive forces, narratives become valuable sources for cultural history and cultural studies, because analyses of “their narrative forms provide information about ideological concepts and world views” (Helms 2003: 14).

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Even though ‘postclassical’ narratologists get excited when thinking of the manifold underlying implications of identity formation through life stories or corporate narratives, one has to accept that such phenomena transcend not merely disciplinary or institutional boundaries but also the competencies and research interests of ‘narrative’ sociologists or marketing experts. The second part will discuss the endeavor to reconceptualize narratology as a basic discipline responsible for narrative phenomena in different fields of research. In an age in which even economists and politicians have for some time realized the crucial importance of storytelling and narratives to the modern economy, to organizations and to the world of politics,15 it certainly seems high time that narrative theorists should also begin to leave behind the boundaries that structuralist narratologists seem so keen to retain.

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