Diegetic and Non Diegetic in Literature & Theory

Diegetic and Non Diegetic: Etymology and Concept

The terms “diegetic” and “non diegetic” have their origins in film studies and are now utilized in broader narrative theory. “Diegetic” comes from the Greek word “diēgēsis,” referring to storytelling.

In narrative theory, “diegetic” elements are those integral to the story’s internal world, accessible to both characters and the audience. Conversely, “non-diegetic” elements exist outside the narrative world, serving as narrative devices or aids that shape the audience’s understanding without being part of the internal narrative reality.

This distinction is crucial for analyzing narrative structures across different media, such as literature, film, and video games. It allows for differentiation between elements within the narrative world and those that operate externally, influencing how the audience interprets and engages with the narrative.

Diegetic and Non-Diegetic: Meanings

Aspect	Meanings
Diegetic Elements	Narrative elements within the story’s fictional world, accessible to both characters and the audience.
Non-Diegetic Elements	Narrative elements outside the story’s world, influencing the audience’s understanding and emotions.
Diegetic and Non-Diegetic Interplay	The dynamic relationship between elements inside and outside the story, shaping audience engagement.
Narrative Perspective	Essential for analyzing narrative perspective and the audience’s access to different narrative layers.
Sound and Music	The role of these elements in sound and music in film and media studies.
Narrative Realism	Balancing these elements to impact the narrative’s authenticity and immersion.
Emotional Manipulation	Non-diegetic elements used to manipulate audience emotions, enhancing their connection to the story.
Narrative Framing	Understanding how these elements influence narrative framing and interpretation.
Cinematic Techniques	The role of these elements in cinematic techniques, impacting the audience’s cinematic experience.
Audience Engagement	Recognizing these elements is crucial for understanding audience engagement and narrative interpretation.

Diegetic and Non-Diegetic: Theoretical Term Definition

Diegetic and non-diegetic are theoretical terms used in narrative and media studies to distinguish between elements within a story’s fictional world and those external to it.

Diegetic elements encompass narrative components that exist within the story’s internal reality and are accessible to both the characters and the audience.

Non-diegetic elements, on the other hand, include narrative components that exist outside the story’s world and are designed to influence the audience’s understanding and emotional response, serving as a critical framework for analyzing the relationship between story and audience.

Diegetic and Non-Diegetic: Theorists, Works, and Arguments

Theory	Relevance
Gerard Genette:	In Discours du récit (1972), Genette’s distinction between “diegetic” and “non-diegetic” levels provides a foundational framework for understanding how narrative discourse and story elements interact in literature. His work is crucial for analyzing narrative structure and the relationship between narrative layers.
Seymour Chatman:	Chatman’s Story and Discourse: Narrative Structure in Fiction and Film (1978) explores the separation between “story” and “narrative.” It highlights the significance of recognizing diegetic and non-diegetic elements in understanding narrative structure in both written fiction and film.
Mieke Bal:	In Narratology: Introduction to the Theory of Narrative (1985), Bal discusses the concept of “focalization,” which relates to the perspective through which diegetic elements are filtered. Her work emphasizes how different focalizers influence the audience’s access to the story world, impacting the interpretation of the narrative.
Seymour Chatman (again):	In Coming to Terms: The Rhetoric of Narrative in Fiction and Film (1990), Chatman expands on his earlier ideas and explores the rhetoric of narrative in fiction and film. He emphasizes the importance of distinguishing between diegetic and non-diegetic elements for narrative interpretation in these media.
David Bordwell:	Bordwell’s Narration in the Fiction Film (1985) focuses on film narration. He discusses the concept of “narrative devices” and how cinematic techniques, including these elements, influence audience engagement and interpretation in the context of film storytelling.

Diegetic and Non-Diegetic in Literary Theories

1. Narratology: These elements are fundamental in narratology, the study of narratives. They are essential for understanding the spatial and temporal dimensions of storytelling. Narratologists examine how narrative space is constructed and how it affects the reader’s engagement with the text.
2. Postcolonial Theory: In postcolonial literature and theory, narrative framing plays a role in reflecting the impact of colonization on physical and cultural landscapes. Authors often use narrative space to convey themes of displacement, identity, and cultural hybridity.
3. Feminist Theory: Feminist literary criticism considers how narrative space can reflect and reinforce gender roles and power dynamics. The analysis of domestic spaces, settings, and spatial boundaries is crucial in understanding the portrayal of women and their agency in literature.
4. Eco-Criticism: In eco-criticism, the focus is on the representation of nature and the environment in literature. Narrative space is significant in eco-criticism as it explores how authors depict and engage with natural landscapes, ecological concerns, and human-nature relationships.
5. Psychological Criticism: Psychological literary theories, such as psychoanalysis, examine how narrative space can represent the inner landscapes of characters’ minds. The narrative space can reflect the conscious and unconscious thoughts, dreams, and psychological experiences of characters.
6. Postmodernism: Postmodern literature often challenges traditional narrative structures and plays with narrative space. Authors may create fragmented or nonlinear narratives that disrupt conventional spatial and temporal boundaries.
7. Reader Response Theory: Narrative space is relevant in reader response theory as it considers how readers engage with and interpret the narrative environment. The reader’s understanding and interpretation are influenced by the author’s construction of narrative space.
8. Cultural Studies: Narrative space is examined in the context of cultural studies to understand how it reflects cultural, social, and political contexts. The depiction of urban spaces, cultural landscapes, and physical settings can convey cultural values and societal norms.

Diegetic and Non-Diegetic: Application in Critiques

Work	Diegetic Elements	Non-Diegetic Elements	Critique
The Night Circus by Erin Morgenstern (2011)	The descriptions of the circus itself, the characters’ interactions, and their dialogues are diegetic.	The second-person narration that addresses the reader directly and the author’s descriptions of the circus’s enchanting atmosphere are non-diegetic.	The interplay between these elements enhances the reader’s experience. The non-diegetic descriptions create a dreamlike ambiance, while the diegetic elements, such as character dialogues, form the core of the narrative.
Where the Crawdads Sing by Delia Owens (2018)	The dialogues among characters, their actions, and interactions within the marshland setting are diegetic.	The descriptive passages of the natural environment and the author’s narrative voice are non-diegetic.	In Where the Crawdads Sing, the diegetic elements, particularly the dialogues and character interactions, are central to character development and plot progression. The non-diegetic elements, such as the lush descriptions of the marsh, create a vivid backdrop for the story.
The Silent Patient by Alex Michaelides (2019)	The dialogues between characters, their actions, and events within the psychiatric facility are diegetic.	The first-person narration by the therapist, reflecting on the case and offering insights, is not diegetic.	The interplay between theses elements is crucial for building suspense and complexity in The Silent Patient. The not diegetic perspective offers a unique layer of interpretation that keeps the reader engaged.
An American Marriage by Tayari Jones (2018)	The dialogues, thoughts, and actions of the characters, particularly their letters and conversations, are diegetic.	The author’s narrative voice and the passages that provide social and cultural context are not diegetic.	An American Marriage uses diegetic elements, particularly the letters exchanged between the characters, to offer a deeply personal view of their experiences. The not diegetic elements, including the author’s contextual insights, add layers of social commentary to the narrative.

Diegetic and Non Diegetic: Relevant Terms

1. Narrative Voice: The voice through which a story is told, which can be a diegetic character, a not diegetic narrator, or a combination of both.
2. Soundtrack: The non diegetic music or sound accompanying a film or other media, which enhances the emotional impact of scenes.
3. Voice-Over: A not diegetic commentary or narration overlaid on the visuals, often used in film and television.
4. Fourth Wall: The imaginary boundary separating the fictional world (diegetic) from the audience (non diegetic), which can be broken for dramatic effect.
5. Breaking the Fourth Wall: When characters acknowledge or interact with the audience or their awareness of being in a story, which is a non diegetic element.
6. Immersive Narrative: A storytelling technique that fully engages the audience in the diegetic world while minimizing not diegetic intrusions.
7. Film Score: The not diegetic musical composition created to accompany a film, enhancing the emotional and narrative impact.
8. Cinematic Montage: The juxtaposition of short, often non diegetic, film shots to create meaning or convey a passage of time.
9. Epistolary Fiction: A narrative style that uses diegetic elements in the form of letters, diary entries, or documents to tell the story.
10. Interactive Narratives: Stories in video games or other interactive media that blend these elements, allowing the audience to influence the narrative’s direction.

Diegetic and Non Diegetic: Suggested Readings

1. Altman, Rick. Film/Genre. British Film Institute, 1999.
2. Bordwell, David. Narration in the Fiction Film. University of Wisconsin Press, 1985.
3. Branigan, Edward. Narrative Comprehension and Film. Routledge, 1992.
4. Chatman, Seymour. Coming to Terms: The Rhetoric of Narrative in Fiction and Film. Cornell University Press, 1990.
5. Genette, Gérard. Narrative Discourse: An Essay in Method. Cornell University Press, 1983.
6. Naremore, James. Film Adaptation. Rutgers University Press, 2000.
7. Prince, Stephen. A New Pot of Gold: Hollywood under the Electronic Rainbow, 1980-1989. University of California Press, 2000.
8. Stam, Robert. Film Theory: An Introduction. Wiley-Blackwell, 2000.
9. Stam, Robert, and Toby Miller. Film and Theory: An Anthology. Wiley-Blackwell, 2000.
10. Tsivian, Yuri. Silent Witnesses: Russian Films, 1908-1919. British Film Institute, 1989.