Narratives are omnipresent in human culture and occur in a vast variety of types. They differ according to the situations in which they are used, according to their functions, their status as fictions or factual reports, their story substances etc. Yet they have one thing in common: narrativity, the quality that renders them narrative in the first place. Among the numerous disciplines that deal with the manifold forms of narratives, literary studies occupies a privileged position: it is the only discipline in which an acknowledged sub-discipline, namely narratology, is exclusively centred on narratives. This should not come as a surprise: at least in Western culture verbal stories–in particular fictional, literary narrations–have over many centuries furnished the prototype of narratives and have contributed to the forming of the very idea of narrativity in each child to whom fairy tales, myths and other stories have been told. Yet, owing to this affinity between literature and narratives, narratology has unfortunately tended to neglect the wide scope of narrativity and has almost exclusively been literature-centred. It has moreover focussed mostly on one particular genre only, namely on “fiction” in the sense of narrator-transmitted narrations. Such restrictions were certainly understandable in the 1960s and'70s, the pioneering days of the discipline. Yet after this period one would have expected narratology to abandon this one-sidedness; all the more so as in the postmodern era interdisciplinarity has generally been encouraged, in the field of fiction most spectacularly so in Fiedler's programmatic essay “Cross the Border–Close that Gap: