It should be a brief introduction to the research category of narratology. Narratology theory originated in the west and is famous for criticizing formalism. In recent years, with the advancement of globalization, it has gradually become a dynamic and popular academic trend. [Edit this paragraph] Definition of Narratology Narratology in the 20th century was born in France. Narratology (French narratology) consists of Latin root narrato and Greek suffix logie. As the name implies, narratology should be the science of studying narrative works. However, this definition cannot stand further study. Because the definition of narrative works, the research object of narratology, is not an easy task. The new edition of Robert French Dictionary defines narratology as "the theory of narrative works, narrative, narrative structure and narrative." The seven-volume La Ruse French Dictionary interprets narratology as "people sometimes use it to refer to the scientific study of the structure of literary works". Obviously, the "literary works" here don't just include a narrative work. There are great differences between these two definitions, but one thing is the same, that is, they both attach importance to the study of text narrative structure. Simply put, narratology is the theory of narrating this article, focusing on the technical analysis of narrative text. Roland barthes believes that any material is suitable for narration, including paintings, movies, cartoons, social anecdotes and dialogues. Narrative carrier can be oral or written audio language, fixed or moving pictures and gestures, and an organic mixture of all these materials. In fact, the development of narratology does not completely follow this assumption, and its research object is limited to myths and folk stories, especially novels, which are narrative works with written language as the carrier. Even if we enter the narrative field composed of non-verbal materials, it is based on the study of narrative works with language as the carrier. Even Bart's "Fashion System" is studying the text symbols about fashion in newspapers and magazines. As far as myths, folk stories and novels are concerned, narratology pays attention to the first two in the early stage and mainly studies "stories"; After the development of narratology, it mainly studies the latter and cares about "narrative discourse". Therefore, the two cannot be mentioned in the same breath. In this way, from the actual development situation, narratology is the study of written narrative materials based on myths, folk stories and novels, and uses this as a reference to study other narrative fields. The word "narratology" was first put forward by todorov. In "Grammar of decameron" published in 1969, he wrote: "... this work belongs to a science that has not yet existed, and we will call it narratology for the time being, that is, the science about narrative works." In fact, before this, the research hypothesis and theoretical outline of narratology have been quite complete. The emergence of narratology is the result of the joint action of structuralism and Russian formalism. Structuralism emphasizes that we should examine and grasp things from the relationship of internal factors that constitute the whole. In particular, Saussure's structuralist linguistics examines language from the perspective of time, that is, the internal structure of language, rather than from the perspective of diachronic and historical evolution. This research idea has had a great influence on the emergence of narratology. [Edit this paragraph] The origin and development of narratology Although the word "narratology" was formally put forward by T Todorov in 1969, people's discussion on narrative has already begun. Plato's famous mimetic dichotomy/diegesis can be regarded as the beginning of these discussions. /kloc-After the novels in the 0/8th century officially entered the literary palace, the discussion on narration (especially novels) became more comprehensive: from the content of novels to the form of novels, to the functions of novels and the status of readers. Some narratology categories that people are keen to discuss today, such as narrative viewpoint, voice and distance, were also discussed a long time ago. For example, Thomas Liszt used "narrative viewpoint" to analyze novels in 1832, and another scholar in the same period, John Gibson Lockhart, also used this term to discuss how to keep the author at a proper distance from his own works. Later, after Henry James' comprehensive exposition and the in-depth development of E·M· Forster and M. Scholler, narrative perspective became one of the most important terms in novel criticism (naturally including narratology). However, as a discipline, narratology was formally established under the influence of Russian formalism under the background of structuralism in the 1960s. It "studies the narrative characteristics and individual differences of * * * in all narrative forms, aiming at describing the narrative-related rule system that controls narrative (and narrative process)". As far as ideological origin is concerned, narratology theory originated from Russian formalism in the 1920s and the narrative precedent of structuralism initiated by Vladimir propp. Russian formalists such as shklovsky and Eisenbaum found the difference between "story" and "plot", in which "story" refers to all events in the actual time series, and "plot" focuses on the actual situation of events in the works, which directly affects the division of narrative works' structural levels by narratology. They put forward the concepts of "story" and "plot" to refer to the material content and expression form of narrative works, and roughly outlined the two levels of story and discourse, which were the focus of later classical narratology research, in order to highlight the skills of studying narrative works. The most direct influence comes from the Morphology of Folk Stories in Plop, which is regarded as the beginning of narratology. Plop breaks the traditional method of classifying fairy tales according to characters and themes, and thinks that the basic unit of stories is not characters but the "functions" of characters in stories, thus separating 3 1 "functions" from numerous Russian folk stories. His views were accepted by Levi-Strauss and spread to France. This view is different from the traditional narrative theory's emphasis on the content and social significance of the work, but based on the structural culture theory of modern linguistics, which pays more attention to the work and its structural analysis: it pays attention to the * * * of the work rather than the specific artistic achievements; This paper mainly studies the relationship between author and narrator, narrator and characters, author and reader, as well as narrative discourse and narrative action. Levi-Strauss mainly studies the inner unchangeable factor structure in myth, trying to discover the basic structure of human thinking with language model. In the 1960s, a large number of works about the structural analysis of narrative works began to appear. Both Gremas and todorov began to translate and introduce Russian formalism. 1966, the eighth issue of Communication magazine published a special issue entitled "Semiotics Research-Narrative Works Structure Analysis", which announced the formal birth of narratology. It is in this special issue that roland barthes published the famous Introduction to the Structural Analysis of Narrative Works, which put forward a programmatic theoretical assumption for the future study of narratology. In this paper, Bart summarizes the achievements of predecessors and expounds his unique views. He suggested that narrative works should be divided into three descriptive levels: functional level, behavioral level and narrative level, and any language unit may combine with each level to produce meaning. It was also in 1966 that Gremas' structural semantics came out. He mainly studied the organization of meaning in discourse, and also compiled a semiotic box as the basic composition mode of meaning, and further studied the narrative structure and discourse structure. So far, the familiar narratology usually refers to the classic narratology, which is a "fruitful fruit" on the fertile soil of structuralism in the 1960s. Todorov, Genette, roland barthes, Graeme, Bremon and other narrators of the older generation broke new ground on the basis of in-depth analysis of the stories and discourses of narrative texts, making narratology spread around the world with France as the axis and becoming a dynamic "upstart" in the family of literary theories. It can be seen that before narratology was formally put forward as a discipline, its development was spectacular, from the study of primary narrative forms such as myths and folk stories to the study of narrative forms of modern literature, from the exploration of the deep structure of "stories" to the analysis of the narrative structure of "words". Todorov suggested that the study of narrative works should be carried out at the level of "story" and "discourse". In decameron's Grammar, he studies the literariness of literary works by analyzing the grammatical structure of literary works, and divides narrative into three levels: semantics, syntax and vocabulary, and divides narrative problems into three grammatical categories: time, style and style. Through the analysis of decameron, each story is simplified to a pure syntactic structure, and two basic units, namely "proposition" and "sequence", are obtained, trying to establish a narrative structure model. Genette absorbed the research results of todorov's narrative discourse. Narrative Discourse, published in 1972 and included in three sets of figures of speech, is his great contribution to the study of narratology. This paper takes Proust's novel Memories of Time Past as the research object, and summarizes the laws of literary narration. He analyzes narrative works from grammatical categories such as time, style and voice, which essentially express the relationship between story, narrative and narrative-he first defines story, narrative and narrative in the introduction. His analysis focuses on narrative discourse and pays attention to the relationship between narrative discourse level and narrative story level. 1983, he wrote "New Narrative Discourse", which answered the criticism of narrative discourse by scholars such as Van Reyes, Dorrit Gaoan and Mick Barr, and revised or further explained some of his arguments. When the theory of narratology spread from France to Europe and developed to Britain and America, some changes took place. Booth's Rhetoric of Fiction, Martin's Contemporary Narratology and Watt's The Rise of Fiction are important achievements in the study of American and British narratology. British and American scholars start with rhetoric skills, and the research is more intuitive and empirical. For example, Booth's exposition of "implied reader" and "voice" in The Rhetoric of Fiction is not from the perspective of narrative grammar, but from the perspective of rhetoric, which is also of great significance to the development of narrative academic theory.