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Part I. Interdisciplinary Approach to Storytelling | 21 informative marks. Fizi and Torok (2006) formulate the relationship between Barthesian terms in the following way: [...] Barthes distinguishes between two large units of marks that make up a story: distributional units (these are the functions - the keys and catalysts) and integrative units (these are the indexical marks and the informants). There is a distributive relationship between units at the same level: they are the branching points of the story; if the marks mediate between the different levels, we speak of an integrative relationship. In other words, the distributive units are responsible for the variety, the turns in the story, and the integrative units are responsible for the unity of the story and for the necessity of its turns, for its motivation. The interdisciplinary richness of the concepts of narratology was also contributed to by the cognitive psychologist Bruner (1996), who argued that fictional and documentative narratives are all based on narrative structure. What all narratives have in common is that they have an actor (agent) who acts in a particular setting to achieve his or her goal while using specific means - the engine of all stories being complication. All narratives begin in the same way: by presenting the original arrangement of the usual, legitimate framework. The whole story then revolves around restoring the old order or, by overturning the old order, establishing a new - even revolutionary — order with new laws and circumstances. Bruner also describes how narratives end with a coda, whose function is to connect to the present context in which the recipient is embedded by elevating the conclusion to a general level. This structuring of the narrative is similar to the Aristotelian triad of the beginning, middle and end. In terms of narrative structure, the Aristotelian tripartite division became known in Hungary, while in the US the pyramid of the 19°-century German writer and thinker Gustav Freytag (1894/1905) became popular. Freytag’s structure of the drama, summarized in five parts, consists of the following stages: (1) exposition and crisis, (2) rising movement (complication), (3) climax, (4) return or fall, and (5) catastrophe or resolution. 2.2 Narrator - Narration - Time/Space - Fabula/Syuzhet A very different approach to narrative emerged among the Russian formalists in the first decades of the 20" century. This way of thinking strongly influenced the structuralist trend in literary studies, which aimed to establish objective forms, structures and concepts for analysis. The formalists introduced the concept of the fabula and syuzhet. According to Tomasevsky, the fabula is the logical, causal and chronological connection of the elements, while the specific arrangement of the elements in a narrative is the syuzhet (Thomka, 1981). On the basis of this syuzhet, the recipient can deduce the
