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It is a truism that taste varies, yet it is important to bear in mind that literary taste – that which counts as literature – is not historically indeterminate, but deeply embedded in the historical and cultural context of narrative practices.

Both narratologists and medievalists can profit from such an endeavor, which does not reject classical and post-classical theories.

Rather, it is based on an informed understanding of the historical grounding of narrative forms and their place in the history of literature.

If even such basic features of narrative have so far remained unanalyzed from a diachronic perspective, it becomes self-evident how many questions there still are to be answered, how much there is still to be done in narrative studies, particularly from a diachronic perspective.

If such historical analysis is taken into account, the field of narratology could be on the brink of a major revolution. ’ (Fludernik 2003a, 344) Since 2003 this train has indeed moved, but not quite alongside as revolutionary a track as Fludernik envisaged.

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