Narrative Analysis: Examining Contemporary Storytelling and Modernism

This report provides an analysis of contemporary storytelling, focusing on the evolution from traditional forms to modern approaches. It explores the impact of modernism, the rise of new narrative structures, and the influence of avant-garde techniques on storytelling. The report discusses the shift from oral narratives to visual and other art forms, examining how these changes have affected audience engagement. Furthermore, the report explores the works of Ray Devitt Maxim and their relation to the anti-narrative approach, and the contemporary art landscape. This report is available on Desklib, a platform offering various AI-based study tools.

Running head: NARRATIVE 1
Anti-Narrative
Name
Institution
Date

NARRATIVE 2
Story telling has been there since time immemorial. Modernism in literature has
affected story telling through the introduction of new sequences, forms, and shapes that alter
the cultural confrontations laid by the ancestors. At the beginning of the 20th century,
disposable stories rose, famously known as the "classic realist text" CRT. Oral narrative is
slowly losing its root and getting replaced by visual art, theatre, music among others.
Storytelling strangely broke the audience’s fourth wall (McCloud, 1994).
In the realm of post world war 2, the questioning of whose opinions was being
outplayed in the story arose. All points of view glorified in a narrative were considered avant.
The movement from avant-grade to the out-there that examines cultures under all
mainstreams took the course. The wild radical art and stories got incorporated into the modern
mainstream using music video and the early avant grade film. Now, the meditation of grassy
ideas has been transformed into a philosophical mode cultivated by epistemology without any
reasonable doubt (Tumakin, Maria “This Narrated Life”).
Understanding Contemporary Story
The simplicity or complexity of a contemporary story has got renewed into a realistic
text. The story consuming practice has attracted most people, who have shifted their
preference to the modern style of accessing narrative over the journals, newspapers, and TVs.
The recent stories are highly layered by a large art transition, and this captures a broader
audience (Lopate 2013).
Ray Devitt Maxim
In Ray Devitt Maxim, re "art" and "popular," the two shticks are discussed to show the
anti-narrative approach by characters. The art shtick makes a narrators audience wonder why
the story contests them while the famous shtick makes the audience understand why the story

NARRATIVE 3
suits them. In conclusion, finishing a story requires a case by case approach on the subject
narrated by the narrator (Lopate 2013).