The true value of our brain’s ever-evolving bank of knowledge is that it enables us to predict the future by forging stories, meaningful connections across time. And understanding the process by which our brains predict the future can help us as artists lean into or subvert our audiences’ narratological expectations in regards to the art that we create. So far in this series, we’ve explored the semantics and syntactics of narrative, and now in this latest installment of Narrative Evolution we’ve come to pragmatics. The pragmatics of narrative can be characterized as the contextual elements, aside from the story itself, that impact an audience’s experience of a piece of narrative art.

How does the concept of diegesis come into play in narrative design? And how does our understanding of genres impact our experience of narrative art? Listen for these answers and more!

The Pragmatics of Narrative: Part I

Book  Speech Act Theory and Pragmatics (Studies in Linguistics and Philosophy, 10)

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In the study of language, as in any other systematic study, there is no neutral terminology. Every technical term is an expression of the assumptions and theoretical presuppositions of its users and in this introduction, we want to clarify some of the issues that have surrounded the assumptions behind the use of the two terms &quotspeech acts&quot and &quotpragmatics&quot. The notion of a speech act is fairly well understood. The theory of speech acts starts with the assumption that the minimal unit of human communica&#173 tion is not a sentence or other expression, but rather the performance of certain kinds of acts, such as making statements, asking questions, giving orders, describing, explaining, apologizing, thanking, congratulating, etc. Characteristically, a speaker performs one or more of these acts by uttering a sentence or sentences but the act itself is not to be confused with a sentence or other expression uttered in its performance. Such types of acts as those

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