Along with Genette’s distinction on the detailed understanding of the writing is Roland Brathe’s method of five structural codes: ‘the proairectic code’, ‘the hermeutic code’, ‘the cultural code’, ‘the semic code’, and ‘the symbolic code’ (Barry 49-50). Barthes’ structuralist codes signify distinct moments in a literary work that can affect the plot in its entirety, from action to themes in the plot. Barthes’ work predominantly balances with Genette in a way that allows the audience to understand that the framing of the way the writing is presented creates a effect on the narrative. Barthes’ codes identity a structure in the detailed writing style that allow the narrative to be more concise. Gennette and Barthes’ perspective on narrative allows
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To start, the framework of the Turn of the Screw cannot follow Propp’s structure exactly, but it does have a loose organization. It can also fit Aristotle’s sense of framework. There is a sequence of events that occur - the prologue, the arrival of the governess, the change in dynamic when ghosts appear, the sudden fear of the chidren, etc. The story follows a series of events that are similar to those of Propp. The frame allows the audience to anticipate small events such as the change in dynamic, the appearance of new characters, but it does not state the exact steps it takes, hence, it is only a loose organization. As for Aristotle, it is important to note that the governess does follows Aristotle’s three distinction. In the story, the governess has a reflection about her stability within the mansion, “there were in the matter I had put before her depths and possibilities that I lacked resolution to sounds […] We were to keep our heads we should keep nothing else-difficult indeed as that might be in the face of all that, in our prodigious experience” (59). The governess also pertains to feelings of guilt and anguish in the end, when Miles dies after possibility seeing the ghost, and this combines both “the hamartia” and “the peripeteia”, as rather than the governess being harmed, Miles is harmed. Both Aristotle’s and Propp’s frameworks,
To start, the framework of the Turn of the Screw cannot follow Propp’s structure exactly, but it does have a loose organization. It can also fit Aristotle’s sense of framework. There is a sequence of events that occur - the prologue, the arrival of the governess, the change in dynamic when ghosts appear, the sudden fear of the chidren, etc. The story follows a series of events that are similar to those of Propp. The frame allows the audience to anticipate small events such as the change in dynamic, the appearance of new characters, but it does not state the exact steps it takes, hence, it is only a loose organization. As for Aristotle, it is important to note that the governess does follows Aristotle’s three distinction. In the story, the governess has a reflection about her stability within the mansion, “there were in the matter I had put before her depths and possibilities that I lacked resolution to sounds […] We were to keep our heads we should keep nothing else-difficult indeed as that might be in the face of all that, in our prodigious experience” (59). The governess also pertains to feelings of guilt and anguish in the end, when Miles dies after possibility seeing the ghost, and this combines both “the hamartia” and “the peripeteia”, as rather than the governess being harmed, Miles is harmed. Both Aristotle’s and Propp’s frameworks,