Narrative Situation of Story Paper Example

One of the elements into an understanding of the reality is narrative. To inquire about the nature of the story is to raise a question on the very nature of humanity and culture. As it is portrayed by Roland Bathers in his landmark essay on narrative: "All classes, all human groups, have their narratives, enjoyment of which is often shared by men with different, even opposing, cultural backgrounds (Levstik, 2). Therefore, narrative comprises translating into telling, the burden a writer may have due to culture can do it with a lot of ease be transmitted with the aid of a suitable. This indicates that a narrative is a metacode, a human universal on the ground that transcultural message concerning nature of a shared reality can be communicated. Such an altitude would believe that lack of narrative would suggest lack of its actual meaning. Frank Kafka's and The Thirteenth Night by Higuchi Ichiyo, uses omniscient nature to make sense of social and political challenges in their specific societies.

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The mono- perspective narration of the Kafka's fictions presents the external reality through process of filtering process of the consciousness of the protagonist, where the narrator is not separate from the protagonist, where free indirect speech with each phrase from the lexis of the main characters and change in the third person statement of the neutral narrators. Thus, the narrators portray the protagonist is a manner seems more significant than the authors do but textual proof demonstrates that the narration is not usually mono-perspective. This exclusive narrative pattern of Franz Kafka is indicative of his existential crisis. Kafka was one of Bourgeoisie who stood for real sense the middle-class awareness of mystical famine and moral disintegration. The world war embarked Germany into the extended sovereignty of historical difficulty incorporating social, economic, and, political struggle(Shahar, 5) Therefore, this was the only ideal way that Kafka's narrative blends neo-romantic with the surrealistic, the story with the symbolic, and the realistic with the spiritual. However, in general narrative, the authors attempt as such as possible to impress the reader but in Kafza case indifferent, he wrote will placing less consideration of audience, hence with the aid of impersonal narrator he produced incomplete work.

On the other hand, Higuchi uses the third-person omniscient point of view to air out social problems women go through in Japanese society. The third person narrative makes the narrator possess full knowledge of the situation; he/she can predict future and tell all concerning the past. This is the most objective and trustworthy standpoint for understanding a story from social matters in society. The narrator with a lot of ease can address various truths that surround women regarding her body, mind, her past and future, her human rights and social position, and the multiple matters vital to her present state" (Stewart, 80). Third person narrative in this fiction gives a chance of the author through the main character to convey her intended message to the audience that seeks to bring correct the rejection and mistreatments women in the past, and to educate women to bring out her natural potential in the present age. Without this approach, the main character to be a position of knowing all, it could be difficult to highlight the deprived state protagonist; Harada Oseki.

Conclusion

In conclusion, through the aid of third-person narrative, the two writers have been able to address the social and political illness in the social context in most trustworthy manner. This approach eliminates biases in their work; while, at the same time enable easy picking of information from one character since he/she is full of knowledge concerning the situation.

Works cited

Levstik L. Historical Narrative and the Young Reader. Theory Into Practice [serial online]. Spring89 1989;28(2):114. Available from: Business Source Premier, Ipswich, MA. Accessed June 21, 2018.

Shahar G. Fragments and Wounded Bodies: Kafka after Kleist. German Quarterly [serial online]. Fall2007 2007;80(4):449-467. Available from: Education Full Text (H.W. Wilson), Ipswich, MA. Accessed June 21, 2018

Stewart R. An Australian Cartoonist in 19th Century Japan: Frank A. Nankivell and the Beginnings of Modern Japanese Comic Art. International Journal Of Comic Art [serial online]. October 15, 2006;8(2):77-97. Available from: Art Full Text (H.W. Wilson), Ipswich, MA. Accessed June 21, 2018.