ABSTRACT:Drawing on research by, among others, Monika Fludernik, Marie-Laure Ryan, and previous publications by the author, the present article outlines the foundations of a transmedial narratology that draws on intermediality theory, frame theory, and prototype semantics. These foundations permit the simultaneous conceptualization of narrative as a semiotic macro-mode and as a cognitive frame which enables recipients to classify given artifacts (texts, performances, etc.) as more or less narrative in accordance with the extent to which "narremes" as features of prototypical narratives can be recognized. This approach is illustrated with examples taken from three media: literary fiction, the visual arts, and instrumental music. The comparison of the different narrative potentials of these media leads to some general reflections on both the recipient's and the artifact's share in narrativization (the artifact and the medium it belongs to can be strongly narrative, more or less narrativity-inducing, or non-narrative), moreover on constitutive elements of a media-conscious narratology, and a typology of medial realization of narrativity based on transmission modes. In conclusion, benefits and problems of transmedial narratology are adumbrated.

中文翻译：

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跨媒体叙事学：理论基础和一些应用（小说、单幅图片、器乐）

摘要：本文借鉴 Monika Fludernik、Marie-Laure Ryan 等人的研究以及作者之前的出版物，概述了利用中介理论、框架理论和原型语义的跨媒体叙事学的基础。这些基础允许同时将叙事概念化为符号学的宏观模式和认知框架，使接受者能够根据“narremes”的程度将给定的人工制品（文本、表演等）归类为或多或少的叙事。可以识别原型叙事的特征。这种方法通过取自三种媒体的例子来说明：文学小说、视觉艺术和器乐。这些媒体的不同叙事潜力的比较导致了对接受者和人工制品在叙事化中所占份额的一些普遍反思（人工制品及其所属的媒体可以是强烈的叙事性，或多或少的叙事诱导性，或非叙事性)，此外还有媒体意识叙事学的构成要素，以及基于传播模式的叙事的媒体实现类型学。总之，跨媒体叙事学的好处和问题得到了暗示。以及基于传播模式的叙事性的媒介实现类型学。总之，跨媒体叙事学的好处和问题得到了暗示。以及基于传播模式的叙事性的媒介实现类型学。总之，跨媒体叙事学的好处和问题得到了暗示。