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By Edwin K. Broadhead

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2. 2 Vladimir Propp chose to replace Veselovskij's 'motifs' and Bedier's 'elements' with his own term—'functions'. For Propp the emphasis was on the action done, regardless of how and by whom it was done. 3 The articulation of narrative agents in terms of roles and characters renders Propp's first principle invalid in the definition of motifs. While the function of role and character is a variable one, a valid concept of motif requires both agent and action. Though the agent may be implicit and its role may be filled in diverse ways by various characters, the concept of motif connotes both agent and action.

Culler, Structuralist Poetics (Ithaca, NY: Cornell University Press, 1975), p. 230. 2. A Proposal for Narrative Analysis 37 categories could be applied, but these are the most useful in moving from sentence to narrative. Agents In Aristotle action takes precedence over the agents who perform the action. He insists that, the first essential, the life and soul, so to speak, of Tragedy is the Plot; and that the Characters come second. B. Hardison underlines a further distinction in Aristotle's theory: Agent (TtpdtTOv) should be carefully distinguished from character (e0o<;), for agents—people who perform actions—are necessary to a drama; but character in the technical Aristotelian sense is something that is added later and, in fact, is not even essential to successful tragedy.

The foremost representatives of this science include Roland Barthes, AJ. 1 In his early writings, Barthes rejected the tradition of an essential and eternal quality to literature; he saw this as nothing more than the attempt of bourgeois culture to hide its ideology behind the mask of reason and nature. 2 Barthes exhibited a growing concern for the role of the reader in this process: 'criticism is not an homage to the truth of the past or to the truth of "others"—it is a construction of the intelligibility of our own time'.

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