labovandWaltezkynarrativemodel-TorVergata

‘Evaluation devices say to us: this was terrifying, dangerous, weird, wild, crazy: or amusing, hilarious, wonderful; more generally, that it was strange, uncommon, or unusual – that is, worth reporting. It was not ordinary, plain, humdrum, everyday or run of the mill. (Labov
Resolution Coda
about the outcome of events (Rothery 1990)
Evaluative comments are often spread throughout a narrative, ‘embedded’ in other stages, a successful narrative will always have a discrete Evaluation stage. The progress of the action will be interrupted while the narrator or the characters explicitly offer an assessment of the emotional point of the story.
Theact, Orientation, (Complication, Resolution, Evaluation) (Coda)
Abstract
If present, this stage functions as a signal to prepare the readers for the text that follows, often by orienting them to the kind of story that will be told or to the story’s themes. For example, Once upon a time,
1972)
A shift from action to evaluation is realized by a shift from ideational into interpersonal meanings, expressed through some of the
following patterns:
(but…all of a sudden)
Evaluation
Labov and Waletsky (1967) argue that the Evaluation stage is what gives the text its significance; it establishes the point of the narrative. As it occurs between complication and resolution, it creates a feeling of suspense and marks a break between these two action stages. Labov argues that this stage is necessary as without it a narrative is incomplete:
3 comparison between usual and unusual sequences of events in which participants in the narrative are involved;
4predictions about a possible course of action to handle a crisis or
is a generic realization for folktale narratives.
Orientation
This stage provides readers with the information they need to understand the narrative and usually provides preliminary information about participants in the story (who), the setting in space (where) and time (when)and the actions that were under way before the onset of complications (what). This stage is typically presented by presenting reference and expressions of habitual
action.
Complication
This stage involves a problem culminating in a crisis. The events initiated in the orientation somehow go wrong. There is a disruption to the usual sequence of events and subsequent actions become problematic and unpredictable. This stage is typically realised by a shift from conjunction relations of temporal sequence (and then… ) to relations of concessive counter-expectancy and simultaneity
1 the expression of attitudes or opinion denoting the events as remarkable or unusual;
2 the expression of incredulity, disbelief, apprehension about the events on the part of the narrator or a character of the narrative, including highlighting the predicament of a character;
This stage often refers back to the theme of the abstract and makes an overall statement about the text. In conversational narratives, the coda signals to readers that the speaker no longer needs to hold the floor – her story is told. In written narratives, the Coda often creates a sense of finality by its circular return to the starting point of the narrative. This stage is often signalled by a shift in tense (from the simple past used for the narrated events to the present of the narration, for example); or by a shift from statements about specific participants, events and settings to generalizations about ‘experiences like that’.
In this stage we are told, how the protagonist manages to resolve the crisis. Through the resolution, usuality returns and equilibrium is restored. Realizations include causal conjunction relations (so) introducing the redemptive action, followed by a return to temporal sequential relations.