3Ĥ As Aristotle wrote in his Poetics : “Most important of all is the structure of the incidents. As Baroni very eloquently observes: “ Savoir démonter l’horloge, c’est devenir, jusqu’à un certain point, maître du temps ” (2017: 22). This article therefore considers that, beyond symbolism, stylistics and literary effects, the mechanics of storytelling have a lot to offer to us as researchers and to our students endeavouring to further their understanding of language and literature.

While this approach inevitably delves into hermeneutics, my aim is to look at the stories from the perspective of the creative mind, on the other end of interpretation. A student of mine once came to me at the end of the semester and said: “I loved the creative writing class because, for once, at university, I was taught how to write literature instead of being told how I should read it.” That comment has remained with me ever since and, as a writer myself and a creative writing teacher, I suggest a change of paradigm and attempt to shed light on knowledge gathered from published writers of fiction, departing from literary theory to enter the realm of creative writing theory.

3 “Knowing how to take the clock apart is, to a certain extent, to become master of time .” (My tr (.)ģ The novels by authors of speculative YA fiction are sometimes considered to lack style, literary value, or any kind of value, in the worst cases, because our academic enquiry, while it is giving it more and more attention (McGurl, 2009), rarely falls on the storytelling tools and techniques that authors deploy.

Par le biais d’une analyse narratologique pratique, nous défendons la valeur narrative intrinsèque de la saga de Rowling dans le cadre de la narratologie, en nous concentrant sur la cohérence au sein des mondes narratifs imaginaires, et étudions l’idée de microcosmes, qui non seulement génèrent le conflit qui fait partie de l’horizon d’attente conscient ou inconscient des lecteurs et lectrices, mais façonnent également l’horizon géographique en constante expansion qui entraîne les personnages et les lecteurs et lectrices dans différentes sphères du monde narratif que l’autrice a tissé. Notre objectif est d’examiner l’histoire du point de vue de l’esprit créatif, en partant du principe que, au‑delà du symbolisme, de la stylistique et des effets littéraires, les mécanismes de la narration dans les romans pour jeunes adultes ont beaucoup à nous offrir en tant que chercheurs et à offrir à nos étudiants qui s’efforcent d’approfondir leur compréhension de la langue et de la littérature. Dans cet article, nous donnons la parole aux savoirs et au savoir-faire des auteurs et autrices de fiction publiés, en nous éloignant parfois de la théorie littéraire pour entrer dans le champ de la théorie de la création littéraire de manière interdisciplinaire. Son intérêt réside également dans son hybridité, puisque la série oscille entre la littérature jeunesse et la littérature Young Adult. Rowling (1997‑2007), qui s’étend sur plus de quatre mille pages, offre un large éventail de mécanismes et de phénomènes narratologiques et, à ce titre, constitue un objet narratif unique pour l’étude de la narration. Through a hands‑on narratological analysis, I argue for the intrinsic storytelling value of Rowling’s series through the scope of narratology, focusing on coherence within imaginary narrative worlds, and I investigate the idea of microcosms, which not only generate the conflict that constitutes part of the reader’s conscious or unconscious horizon of expectations but also shapes the ever-expanding geographical horizon which takes both characters and readers into different spheres of the narrative world the author has weaved. My aim is to look at the story from the perspective of the creative mind, operating under the principle that, beyond symbolism, stylistics and literary effects, the mechanics of storytelling in middle-grade and young adult fiction have a lot to offer us, as researchers, and our students endeavouring to further their understanding of language and literature. In this article, I give voice to the knowledge and know-how of published writers of fiction, sometimes departing from literary theory to enter the realm of creative writing theory in an interdisciplinary manner.

Its interest also lies in its hybridity, as the series hovers between children’s literature and Young Adult literature. Rowling’s Harry Potter heptalogy (1997–2007), which spans over more than four thousand pages, offers a wide array of narratological mechanisms and phenomena and, as such, constitutes a unique narrative object for the study of storytelling.

Examples of microcosm in a sentence