Hi Lotte van Eenennaam,

maybe this study is of interest for you, even if it is not focused on paradox in narrative/narrativity: The volume on "Perspectives on Narrativity and Narrative Perspectivization" (ed. by Sonja Zeman and me) deals with the core principles of narrativity and looks into the inherent paradoxical structure of narrative discourse; see especially the chapter by Zeman on "Perspectivization as a link between narrative micro- and macro-structure", p. 37.

Silvan Wagner's chapter on "Narrator and narrative space in Middle High German epic poetry" and my chapter on "The double-layered structure of narrative discourse and complex strategies of perspectivization" also deal with paradoxical constellations in semi-oral respectively modern literary narration. 

I'd be very happy to hear your feedback, if this goes in the direction you were looking for.

Best regards!

Natalia

I find Simon Dentith's 'Parody' (London: Routledge, 2000) a good introduction. 

Dear Lotte,

A helpful discussion of oxymoron's  role in science fiction can be found in Slusser's "Fiction 2000: Cyberpunk and the Future of Narrative". Tzvetan Todorov discusses oxymoron and paradox in his classic "The Fantastic". I relate to oxymoronic structures in my chapter in the Cambridge History of Postmodern Literature. I'd be very interested in seeing how you connect narrative paradox with the notion of trauma (Cathy Caruth).

I think you could find useful Käte Hamburger's Logic of Literature (Die Logik der Dichtung). According to the author, at the very core of the narrative (intended both as a historically determined form of art and as a faculty of human intellect in its effort to cope with the complexity of reality) there is an epistemological paradox. This consists in the possibility for a third-person narrator to gain access to the interiority of other individuals not merely as objects of his gaze (as, say, a psychoanalyst could do) but also - and maybe especially - as subjects themselves, with unique perspectives on the world and personal sets of values (not necessarily identical or even compatible with the narrator's ones). But Hamburger's interest in paradox as something that may turn out to be "the" distinctive character of narrative and narrativity is clear also in (apparently) secondary parts of her discourse, e.g. her reflections about grammatical aspects as the preterit losing its meaning of past and becoming compatible with deictics (one typical example is the first page of Fontane's Effi Briest, "they were today sitting...").

May I add few references more:

Hoffarth-Zelloe, M. Resolving the Paradox?: An Interlinear Reading of Toni Morrison's "Sula" in The Journal of Narrative Technique. Vol. 22, No. 2 (Spring, 1992), pp. 114-127. http://www.jstor.org/stable/30225356?seq=1#page_scan_tab_contents; 

Haunting Violations: Feminist Criticism and the Crisis of the Real / Ed. by W. Hesford,W. Kozol (on Cathy Caruth); 

Hobart, M. E. The Paradox of Historical Constructionism in http://abuss.narod.ru/Biblio/eng/hobart.htm (under the influence of Hayden White ); 

Shuman, A. (1986) Storytelling Rights: The Uses of Oral and Written Texts by Urban Adolescents. - It was written under the influence of Stewart, S. (1979) Nonsense: Aspects of Intertextuality in Folklore and Literature (nonsense is a keyword, too).

Many works were written in Russian, as

Сапожникова, Ю. Л. Исследование тематики памяти в «Возлюбленной» T. Моррисон http://cyberleninka.ru/article/n/issledovanie-tematiki-pamyati-v-vozlyublennoy-t-morrison

Мороз, O., Суверина, E. (2014) Trauma studies: История, репрезентация, свидетель in Новое литературное обозрение. №1(125) http://magazines.russ.ru/nlo/2014/125/8m-pr.html

but I think in this case the language will be a  barrier. 

I see two variants for answering your question, dear Dr. Schwarz, but I'll keep silence... Hope, Lotte van Eenennaam will share her research later. 

There is some addressing of paradoxes in narrative in Matti Hyvärinen, Lars-Christer Hydén, Marja Saarenheimo and Maria Tamboukou (Eds.)(2010). Beyond Narrative Coherence, Amsterdam / Philadelphia: John Benjamins Publishing Company. (see particularly Chapter 5 - Broken narratives, visual forces: Letters, paintings and the event).

Also you may find insights in: Witherell, C. (1991). The self in narrative: A journey into paradox. In C. Witherell & N. Noddings (Eds.), Stories lives tell: Narrative and dialogue in education (pp. 83-95). New York: Teachers College Press

Bhabha building on Lacan? Maybe Dentith on parody can be in interesting read Simon Dentith, Parody (London: Routledge, 2000).

In my doctoral dissertation (2004), I deal with narrative methodology ('critical rhizomatic narrative methodology'), which I created to address reflexively and critically issues in contexts of poverty, disaffection/disenfranchisement and marginalisation in impoverished schools in SA (and mathematics classrooms therein). Specifically I address the construction of disadvantage and the pedagogizing of differenc. The concept of 'moments of articulation' was derived to address 'happenings' in the research that were of a ethically dilemmatic, paradoxical, ironic, and contradictory nature. This work received four major international awards - including AERA Outstanding doctoral dissertation (curriculum studies division), and Norman Denzin's, Centre for Qualitative Inquiry award. Swanson D.M. (2004). Voices in the Silence. Narratives of disadvantage, social context, and school mathematics in postapartheid South Africa. University of British Columbia, Vancouver, Canada. It can be found: https://open.library.ubc.ca/cIRcle/collections/ubctheses/831/items/1.0058236

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