Aesthetics

The art of narrative is by definition an aesthetic enterprise, and there are a number of aesthetic elements that typically interact in well-developed stories. Such elements include the essential idea of narrative structure, with identifiable beginnings, middles and ends or exposition-development-climax-resolution-denouement, normally constructed into coherent plot lines; a strong focus on temporality that includes retention of the past, attention to present action and protention/future anticipation; a substantial focus on characters and characterization which is “arguably the most important single component of the novel”[4]; a given heterogloss of different voices dialogically at play—“the sound of the human voice, or many voices, speaking in a variety of accents, rhythms and registers possesses a narrator or narrator-like voice, which by definition “addresses” and “interacts with” reading audiences (see Reader Response theory); communicates with a Wayne Booth-esque rhetorical thrust, a dialectic process of interpretation, which is at times beneath the surface, conditioning a plotted narrative, and other at other times much more visible, “arguing” for and against various positions; relies substantially on now-standard aesthetic figuration, particularly including the use of metaphor, metonymy, synecdoche and irony (see Hayden White, Metahistory for expansion of this idea); is often enmeshed in intertextuality, with copious connections, references, allusions, similarities, parallels, etc. to other literatures; and commonly demonstrates an effort toward bildungsroman, a description of identity development with an effort to evince becoming in character and community.