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6. leimotif: A frequently recurring Motif, related to and expressive of a character, situation, or event. Vinteuil's little phrase in Remembrance of Things Past functions as a leitmotif. The term was originally used in connection with Wagnerian music. Ducrot and Todorov 1979; Tomashevsky 1965.

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20. motif: 1. A minimal thematic unit. When a motif recurs frequently in a given text, it is called a LEITMOTIF. A motif should not be confused with a THEME, which constitutes a more abstract and more general semantic unit manifested by or reconstructed from a set of motifs: if glasses are a motif in Princess Brambilla, vision is a theme in that work. A motif should also be distinguished from a TOPOS, which is a specific complex of motifs that frequently appears in (literary) texts (the wise fool, the aged child, the locus amoenus, etc.) 2. A minimal narrative unit at the syntactic level; a NARRATIVE STATEMENT. For Tomashevsky, motifs can be static (designate a STATE) or dynamic (designate an EVENT). Furthermore, they can be logically essential to the narrative action and its causal-chronological coherence (BOUND MOTIFS), or they can be logically inessential to it (FREE MOTIFS). 3. An element fulfilling or manifesting a MOTIFEME. A motif is to a motifeme as a phone (a sound of language) is to a phoneme (a distinctive sound class), a morph to a morpheme, or an ACTION to a FUNCTION. See: Bremond 1982; Daemmrich and Daemmrich 1986; Ducrot and Todorov 1979; Dundes 1964; Tomashevsky 1965

21. Studies in Narratology, Summer 2011 motivation: 1. The network of devices justifying the introduction of a motif, a complex of motifs, or, more generally, a constituent feature of a (literary) text; the reason for the use of a given textual element; COMPOSITION. Tomashevsky distinguished between compositional motivation (referring to the usefulness of the motif), realistic motivation (stressing the lifelikeness, realism, or authenticity of the motif), and artistic motivation (justifying the introduction of the motif in terms of the requirements of "art"). 2. The complex of circumstances, reasons, purposes, and impulses governing a character's actions (and making them plausible). See: Brooks and Warren 1959; Ducrot and Todorov 1979; Genette 1968; Propp 1968; Rimmon-Kenan 1983; Tomashevsky '1965; Wellek and Warren 1949. See also LAYING BARE, NATURALIZATION, VERISMILTITUDE.

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